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TWO . HUNDRED . AND . FOURTEEN 


COMMON-SENSE LESSONS 

-IN- 

Business • bnd • Jrtistic • ]HfRiTiNG, 


--AND- 


RAPID LETTERING, 


With Special Instriictions on Teaclmig Writing, Organizing 
Special Classes, Etc. 

Designed for the use of Private Learners, Teachers and Pupils 
in Schools of all Grades. 


fl mi GUIDE TO GOOD WRITING AND 8UGGESSPUL TEACHING, 



•O' C i: 

AUTHOR OF LESSONS IN BUSINESS WRITING, PARKS’ COMPREHENSIVE GRADED AND 
PRACTICAL COURSE IN TEXT LETTERING, AND PRINCIPAL OF SOUTHERN COLLEGE OF 
PENMANSHIP AND ART, NASHVILLE, TENN. 


Copyrighted 1892 by W. T. Parks. 








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T hat no branch of education is of more importance than 
writing, is a fact freely admitted by all persons of intelli¬ 
gence and business experience. It is, in reality, the very 
‘ ‘ mouth - piece ’ ’ of business. 

That so important a subject to all, should be so universally 
neglected and miserably taught, as is writing, deserves most seri¬ 
ous consideration and regret, and that such neglect and bad 
teaching are mainly due to defective penmanship literature, is 
indisputable. 

Notwithstanding the fact that there are scores of .so-called 
Keys, Copy Books, Guides, Compendiums, Copy Slips, and Self- 
Teaching Systems of Penmanship, not one; is a real guide to 
successful teaching and good, easy, rapid and legible writing ; 
hence our reasons for the publication of the present volume. 

Objects and Claims.—(i.) To place before the public the 
simplest, best classified and graded, most thorough, practical, and 
the easiest course ever published on Business Writing, and one 
specially adapted and intended for the use of private learners, 
teachers and pupils in schools of every grade. 

(2.) To give a sufficiently extended course in Artistic or Pro¬ 
fessional Writing to fully meet the demands of those who aspire 
to something beyond strictly business writing. 

(3-) I'o give clerks, book-keepers and business men gener¬ 
ally, the most useful in “ Rapid Lettering.” 

(4.) To give aspiring young men and ladies, all the informa¬ 
tion necessary to enable them to make money, and greatly bene¬ 
fit the public by organizing and teaching classes in writing. 

(5.) To give all that is necessary, of both copies and instruc¬ 
tion, to insure the best results on every subject considered ; and 
give nothing that we do not use, and has not been proven to be 
strictly practical, time and again, by the crucial tests of the 
school room and business world. 

(6.) To so simplify the subject, that anyone who will make 
an honest effort, can, in a few weeks, become an easy, rapid, leg- 

ible, and even a beautiful writer . 

(7.) To enable all, whose duty or desire is to teach writing, 
alone or in connection with other subjects, to do so successfully 

(3) 









4 


PREFACE. 


after a few hours’ study and practice, though they may have had 
no previous special instruction on the subject. 

(8.) To materially assist in creating a greater and more gen¬ 
eral interest in good writing among all classes. 

Briefly.—To make the poor writer the exception, and not 
the rule. 

Copies in this Book.—Every copy in this book was photo - 
engtaved (not engraved by hand) from our actual writing, hence 
exactly like our writing, and just as good for copies as though really 
written with pen and ink on the pupils’ paper. While we do not 
claim absolute perfection for them, they represent genuine pen 
writing, mrie according to the instructions herein given, hence 
are far better than those contained in the so-called “Keys,” 
“ Guides,” “ Copy Books,” which are not a facsimile of real writ¬ 
ing, but were hand engraved by fine engravers from letters and 
tvords made slowly with a pencil, generally by some one else 
than the author. 

We neither make, nor desire to make, any apologies for either 
the number or quality of the copies in this book, but we assert, 
and without the slightest fear of successful contradiction, that it 
contains more common - sense ideas on the really practical in 
writing, than any six other publications on the subjects com¬ 
bined,—it is preeminently a book of ideas. 

It is hoped that the reader will observe that there is an occas¬ 
ional repetition of ideas on a few subjects of special importayice, for 
which we desire to apologize—we should have repeated ten times 
as often. 

Pants or Chapters.— Part First will be devoted to General 
Remarks and Instruction. Part Second will contain 150 Ees- 
sons in Business Writing. Part Third will contain fifty Lessons 
in Artistic Writing, Combinations of Letters, Card Writing, Back 
Hand, Shaded Base, etc. Part Fourth will contain fourteen 
Lessons in Rapid Lettering. Part Fifth, Teaching Writing 
Itinerantly. 

With the sincere hope that this little book may substantially 
contribute to the cause of good writing, we are 
Very respectfully. 



QENERflL REMARKS ^ INSTRUCTION. 


LEflbINQ Q/IU5E5 OF B/Ib TEflCHINQ /INb NEQLECT 
OF WRITINQ. 


DEFECTIVE PUBLICATIONS. 


A S was stated in the Preface, we believe that the leading 
cause of Bad Teaching and the Neglect of Writing, is insuf¬ 
ficient and defective penmanship literature. It is true that 
much has been published on the subject—as. Copy Books and so^ 
called Guides, etc.—but we need more, and all of a decidedly better 
quality. They nearly always contain eiiough copies ; in fact, they 
are little more than a mere miscellaneous collection of low grade 
copies, considering the purpose for which intended, being improp¬ 
erly classified and graded, too difficult and, worst of all, hand en¬ 
graved ; hence devoid of all interest to the learner, which is abso¬ 
lutely indispensable to success. If any teacher expects pupils to 
practice earnestly after perfect hand-engraved copies, which they 
know were not made from real writing, and cannot be equaled 
with the pen by any one, he expects what never has been and 
never will be. 

Moreover, the instruction contained in suchpublicationsiswor.se, 
if possible, than the copies ; it is always insufficient, often mysteri¬ 
ous, and generally incorrect. As not one teacher in ten thousand 
ever attends a .school of Penmanship to fit himself for teaching 
writing, but depends entirely upon the information obtained from 
books, it is of the greatest importance that such be only the very 
best, real guides both to teacher and pupil. 

Considering the defectiveness of penmanship literature, it is not 
at all strange that writing is practically ignored or miserably 
taught ; nothing else could reasonably be expected. 


(5) 





6 LESSONS IN BUSINESS AND ARTISTIC WRITING. 

But it would be unjust not to say in this connection that a few 
of the most recent penmanship publications, though quite de¬ 
fective in many respects and limited in their circulation, have been 
a real benefit to the cause of good writing. Such is especially 
true of our leading penmanship papers, which deserve special 
mention for much wholesome instruction and the great work they 
have done in popularizing the subject. 

MISCONCEPTION OF ABILITY NECESSARY. 

The Natural Talent Fallacy.—Among the most potent 
causes of bad writing and teaching is the pernicious and senseless 
belief entertained by many, that the ability to learn to write, is al¬ 
most wholly dependent upon an endowment, gift of nature, an in¬ 
heritance; or, in other words, some peculiar quality or condition 
of mind or body, or both, in addition to good sense and a sound 
body. To the experienced and skillful penman such nonsense 
seems truly too silly for respectful consideration. Were the above 
true, the author of this book would not have been able to write 
even his own name respectably, and to say that it is basely and un- 
exceptionally false, very inadequately expresses his feelings; 
that this idiotic belief has done the cause of good writing much 
harm, no one can deny. 

In our twelve years’ experience, teaching thousands of pupils 
writing in all grades of schools, from the country school to the 
university, we have never seen one person, over ten years of age 
and of somid mind and body, whether left or right-handed, who did 
7wt or could not become a nice, easy, rapid, and legible writer in a 
few months—in fact, in one-half or one-third the time required to 
attain proficiency in any other bi^anch of education. 

The time was when it was thought and taught that people must 
be endowed with a special talent for Mathematics, History, Geog¬ 
raphy, etc., in order to accomplish anything in those subjects ; 
also, that women were totally unable to comprehend the abstruse 
problems of the sciences, or cope with their brethren in anything 
intellectual. That all really enlightened and sensible people have 
taken a decided stand against such barbaric ideas is indeed grati¬ 
fying. 

In conclusion, we wish to say that we believe that writing is 
A GIFT, BUT THOSE WHO HAVE GOOD SENSE AND GRIT ARE THE 
GIVERS. 


GENERAIv remarks AND INSTRUCTION. 


7 


Incompetency of Teachers and Examiners.—Not one teach¬ 
er in a thousand has the first ideas of the correct theory of teach¬ 
ing writing, much less the skill to write a good copy ; yet few 
think him incompetent on that account. If he has memorized the 
“hair-splitting, double-stilted analysis,” a little of the nonsense 
in regard to pen-holding, etc., in the back of some hand-engraved 
cop3^-book, and has faint ideas of distributing and collecting ma¬ 
terial, he is thought to be an expert in his line, and indeed he is (?), 
as few know so much ; but it would be much better for his pupils 
if he did not know what he does, for his teaching (if it can be 
called such) nearly always results in a slow, cramped, finger move¬ 
ment style of writing that is practically worthless for business. 
But fortunately such teachers have writing only the first month 
or two of school ; hence it is po.ssible for the students to overcome 
some of the bad habits thus partially formed before writing is 
taught (?) again. What parent would allow a teacher who knows 
so little, and is so unskillful in Mu.sic, Elocution, Arithmetic, 
Grammar, etc., to instruct his children ? Such a teacher would 
be dismissed in less than a week. Then, why allow writing, the 
most important branch of their education, so badly abused ? 

While teachers are very greatly to blame for lack of skill and 
knowledge of writing, there are others who deserve severe criti¬ 
cism. If parents and examiners were to require the same degree 
of proficiency in writing that they do in other subjects, teachers 
wotild soon be better qualified to teach it than any other brayich, 
because it is the easiest. 

Who ever heard of an examiner refusing a teacher a certificate 
because of poor writing ? If he fails to bound the countries of 
“Darkest Africa,” or locate an island in the Pacific Ocean, he 
fails completely; but writing is not of so much importance (?). 
Such examiners deserve not only to be deprived of their offiee, but 
heavily fined. 

Misapplied Effort.—Most teachers and authors of books on 
writing make a very serious mistake ; the easy is mistaken for 
the difficult; acquiring a knowledge of Form is considered the 
only obstacle to be overcome in learning to write, and is given 
ninety-nine per cent, of their attention. It would be hard mdeed 
to make a greater mistake ; for, if writing presents a single diffi¬ 
culty, it certainly is not Form, but Movement—gaining control of 


LESSON^ IN business AND ARTISTiE WRITING. 


the arm and fingers, acquiring the skill to make letters as we (con¬ 
ceive) see them. 

The first few days of school, some wandering and mysterious 
remarks are made on movement, position, etc., and that ^ndsit, the 
remainder of the time is spent on “humdrum” analysis of Form. 
Is it strange that teachers get no better results in writing? We 
believe that Form deserves special attention, but that movement 
—training the muscles of the arm—should receive much more. 
Let teachers put one-third of their time on Form, and the re¬ 
mainder on movement, teaching both properly, and poor writing 
will very rapidly disappear, and business men will no longer 
refuse to allow Public School, Academy, and College (literary,) 
graduates “to write on books.” 

Misconception of its Comparative Importance. — We 
believe that there are few persons that do not consider writing 
quite useful and desirable ; but we also believe that the majority 
of people underrate its importance, or at least, do not seem to 
realize it, until its use becomes an absolute necessity ; then cir¬ 
cumstances often hinder its acquirement. 

But we do k 7 iotv that thousands of pupils are neglecting their 
writing for subjects of much less utility ; children are crowded 
into the dead languages, higher mathematics and the“ologies ” 
when they cannot write their names decently, or speak respectable 
English; we claim that such is radically wrong, and shows ignor¬ 
ance or inexcusable thoughtlessness on the part of teacher, par¬ 
ent, pupil, or all, and is a mistake that cannot fail to do evil. 

We do not wish to be misunderstood here, we unreservedly 
favor teaching as much as possible of everythhig useful or orna¬ 
mental ; but most emphatically assert that all subjects should 
receive attention in proportion, ayid in the order of their prac¬ 
ticability, which puts WRITING where it belongs, second to 
NONE. 

We also wish to be recorded as being most heartily opposed to 
the clap-trap education obtained in many schools, both public and 
private, such is devoid of practicability, substance, foundation— 
and fits boys and girls for nothing. Education that neglects easy, 
rapid, accurate, intelligent and intelligible writing and speaking 

the gateways to thought—is, to say the least, a mere travesty 
upon education proper, and an insult to intelligence. It is indeed 


GpInERAl liEMARK^ AND INSTRUC!¥ldN. 


9 


remarkable that sensible people would allow their children’s time 
thus squandered. 

Inadequate Material.—Good penmen cannot write well with 
poor ink, pens and paper, or a narrow and shaky desk, then how 
can a pupil be expected to improve, or eve/i do respectable work, 
with such material f Yet he rarely has suitable ^naterial, and 
ofteyi has none. 

Can Any One Learn to Write?—Yes, any one that has good 
sense and will try. Twelve years’ experience as a specialist in 
penmanship has proven most conclusively to us that any one be¬ 
tween the ages of nine and fifty possessing ordmary intelligeyice, 
one hand, and good mstriiction, can with proper application learn to 
write a nice, eas^q rapid and legible business hand in from six 
weeks to four months. However we do not clahn that all can 
attain the same degree of proficiency, but we do rnost emphatically 
claim that all can learn to write, and that well, under the condi¬ 
tions above given. The opinion that only certain persons can 
become good writers is silly. 

Can Women Learn to Write?—Yes, there is positively no 
reaso 7 i whatever for women not learning to write as well as men, 
in fact, there are most excellent reasons for their becoming better 
writers—they are much more pamstaking and with the same train¬ 
ing should be more proficient. But some one says, ‘ ‘ her muscles 
are so small that it is very difficult for her to acquire the ‘ muscu¬ 
lar ’ movement.” This is another “sample” of undefiled igno¬ 
rance. We admit that some 7 nuscle is a prerequisite to the proper 
movement; but not one-third so much is needed as most people 
think. The best writers have Smaee muscles —the giant’s 
chances for good writing are far inferior to those of the pigmy, 
because he lacks control of himself. Truly, we gain in our writing, 
as we overcome our awkwardness; and anything that will assist 
us in gaining better control of our muscular system will improve 
our chances for good writing. Nine-tenths of the drawbacks to 
writing are purely imagmary 

Penmanship and the Typewriter —Don’t neglectyour writing 
because of the typewriter ; for it can never supersede the pen, but 
will simply elevate it. It is true that the typewriter will do most 
of the drudgery, the commonplace work, but book-keeping, social 


10 1.ESSONS IN BUSINESS AND AETISTIC WRiEiNCi. 

correspondence, and all business of special importa 7 ice, will be done 
by the pen. The products of the pen will be prized much more 
highly than at present. New, higher, and more remunerative 
fields are already opening up, and much of the illustrative work 
in our best journals is the product of the pen, and it bids fair to 
increase in popularity and usefulness in that direction. 

Moreover, the products of the typewriter being more legible, far 
better work will be required of the writer, or he will have to 
yield his place to one more skillful ; hence it is believed that peo¬ 
ple will take much more pains with their writing in the future. 

Surely the pen liveth ! 

WHEN TO BEGIN WRITING. 

Children should commence writing the day they enter school, 
or when they begin reading, etc.; there is no excuse for further 
delay, but every reason for beginning it with other studies. 
Small children are always interested in picture-making, drawing, 
and everything else akin to it ; and, if teachers will present writ¬ 
ing properly, they will have no trouble in securing good results. 
It is a very serious mistake to delay giving special instruction in 
writing until pupils are ten or twelve years old ; for at fifteen 
they should be so proficient that they will need to give it but lit¬ 
tle, if any, further attention ; moreover, between the ages of five 
and fifteen, is decidedly the best time to learn to write, as the fac¬ 
ulties of the mind that have to do with writing and drawing are 
most active, and the physical nature is in the best condition ; every 
muscle of hand and arm are pliable and adaptable, and there are 
fewer false ideas and bad habits to be overcome than at any other 
period. 

By writing, we mean making the script forms; we realize 
“marking” or “printing”—making the Roman letters, is val¬ 
uable ; but writmg proper^ should be taught first and mainly ; 
after the pupils have a fair knowledge of script there can be no 
objection to teaching marking, in fact—we advise it. 

Pen and Pencil.—We think it best for children from five to 
seven, to use pencil the first five months, and possibly during the 
first year, but we would by no means advise its continuance for a 
longer period ; in that time they can gain a fair knowledge of the 
shape of the letters and sufficient control of the hand to use a pen 
and ink to good advantage ; besides, if the use of the pencil is 


GlgNERAL remarks AND INSTRUCTION. li 

continued too long, it will spoil their touch and lead to “grip¬ 
ping ’ ’ the pen—a very pernicious habit. Of course, some will 
object to using ink so early on account of the pupils’ getting it on 
their fingers. If teachers do their duty this need give them no 
more trouble than with larger pupils—such depends almost 
entirely upon management. 

TIME, LENGTH AND FREQUENCY OF LESSONS. 

Time.—The best time for writing is between ten and eleven 
in the morning, or between two and three in the afternoon, pro¬ 
vided there has been no recess within a half hour previous to the 
time of beginning. Never have writing when the pupils are tired 
or “nervous” nor the last thing before noon or closing school 
unle.ss you desire to throw away their time. 

Length.—Twenty minute lessons are long enough for children 
under ten; pupils between ten and fifteen should have twenty 
to forty minute lessons; and those older should spend at least fort}^ 
minutes a day on writing and even more if their writing is not 
good; however, every one ought to write so well at fifteen that 
further lessons are unnecessar}^ and such would be the ease if 
writing was taught properly. 

Frequency.—Lessons should be given every day without excep¬ 
tion; there is nothing else that a.ssists children so mueh in pre¬ 
paring other lessons as does writing, besides it is one of the first 
business and social necessities. You can't afford to write poorly; 
and the sooner you learp to write well the better it will be for 
you. 

The Writing Period.—Don’t let a^iything intrude on the 
writing period. Arithmetic, Geography, etc., are important and 
should be given proper attention ; but not one of them is 
more useful than writing, and the teacher who neglects writing for 
any other branch, is weak, ignorant or mean. Don’t say you 
haven't time for writing; if you have time for a 7 iything you have 
time for it; such excuses are very flimsy to say the least. If you 
have time for anything it is for the branches of most importance 
and writing is one of them. 

Kind of Writing to Learn.—This depends altogether upon the 
use you expect to make of it. Writing for business purposes 
should be the most simple, legible, rapid and easiest possible; it 


12 LESSONS IN BUSINESS AND AREiSTIC WRIEING. 

should be almost or entirely devoid of shade and should not con¬ 
tain a single line unnecessary to legibility; for such not only i/e- 
creases legibility but detracts from speed and ease; all should be 
masters of an easy, rapid, legible style of writing, no difference 
what their calling is; and it should be the first acquired. If you 
have the time and desire to master the more complicated and 
fancy styles of writing, we say go ahead, such is not only enter¬ 
taining and inspiring, but cultivates taste and may be made quite 
profitable. But whatever you do, don’t neglect your business 
writing. 

Size of Writing.—Business Writing should always be small 
except for ledger headings, signs and similar purposes. We have 
given two or three sizes of business writing in this book, but ad¬ 
vise the use of the medium or smallest for most purposes. As a 
rule space in books and business papers, is quite limited, which 
necessitates writing small, besides large writing is more difficult 
and results in a great waste of effort and loss of speed. To be 
sure, writing should be large enough to be read with ease at a 
reasonable distance, but anything beyond, is neither nece.ssary 
nor permissible for ordinary uses. 

But writing for shictly ornameyital purposes may be of any size 
to suit the tastes and necessities of the writer. 


T HE PRINCI PLES. 



All recognized systems of writings contain essentially the same 
pri 7 iciples; they may divide and subdivide the forms known as prin¬ 
ciples, reducing them to simple straight and curved lines, as some 
have done ; but such is really a detriment to the pupil, because 
by so doing, the identity of these “ oft-recurring forms ” (princi¬ 
ples) is destroyed and the pupil is lost in his work. In learning 
form in whatever it may be, the pupils should be taught wholes 
first and parts afterwards ; going gradually from the known to 
the unknown ; the new should be the old with additional features. 




GENERAL REMARKS AND INSTRUCTION. 


13 


Thus it will be seen that comparison forms a most valuable feat¬ 
ure in teaching and learning to write ; also that the ‘ ‘ hair-split¬ 
ting ’ ’ analysis that reduces every form to its ultimate elemeyits, 
(straight and curced lines,) is the work of the advanced pupils— 
the “ budding ” artist penman, and not that of the begimier. 

We rarely speak of the principles as such ; but, when we do, 
we have been accustomed to recognizing twelve, but hiow well 
that there are other forms, as the finish b, v, w, one style of R 
and capital H, and parts of the figures, etc., that deserve equal 
distinction. We speak of them as last part of N, M, H, p : first 
part of X and v, or first part of H, K, M, N, w, etc. etc. This 
has many advantages ; for, when you refer to a form as common 
to several letters every time you teach that form, the pupils soon 
become familiar with not only it, but all contaming it, which 

is decidedly better than saying principle 4, 6, etc.; it means more 
to the pupil, it gives him additional ideas, it materially adva?ices 
him in a knowledge of form. 

There is no magic in the so-called principles, and he that spends 
much time teaching them as such, (teaching abstractly,) is wasting 
his ouni time and doing his pupils, unless they be well advanced, a 
positive injury. Some authors base the great value (?) of their 
books upon the fewness of principles they contain ; such are at 
best mere catchpe 7 mies, intended to entrap the unwary. 

FORM AND MOVEMENT. 

Most teachers teach nothing but Form—the shape and size of 
letters—a few go to the other extreme, teaching Movement only; 
both are radically wrong; good results cannot be attained unless 
each is given special attention. However, we believe that pupils 
under nine should be taught Form principally (not solely) as it is 
usually quite difficult for them to acquire anything beyond a 
finger movement; the muscles of the forearm which serve 
serve as a support and fulcrum and upon which the arm should 
act, being too small generally to admit much action. But older 
persons should give more attention to movement—gaining control 
of the arm and hand—than to Form, for it is much more difficult. 

We would by no means advise the neglect of Form, for without 
it Movement would be a farce; but we do insist on each receiving 
proper attention, and exactly in proportion to the difficulties pos¬ 
sessed, which certainly entitles Movement to at least three-fourths 


14 LESSONS IN BUSINESS AND ARTISTIC WRITING. 

of our attention. We have sometimes found it best to consider 
Form exclusively ior 2i few minutes, then Movement; and again giv¬ 
ing them equal attention, but always giving most attention to the 
one in which the pupils are most deficient, which, in ninety-nine 
cases in a hundred is Movement. To acquire free action and good 
control of the hand and arm requires considerable intelligent and 
careful practice. 

No one will ever acquire a free and easy Movement, or good 
quality of line, practicing slowly; nor will he attain the best re¬ 
sults in Form, practicing rapidly; but alternate quite often, and 
both will be secured. 

Analysis.—We believe that proper analysis is absolutely hidis- 
pensable to a correct knowledge of the form of the letters ; but we 
are of the opinion that the “hum-drum, hair-splitting’’ analysis 
usually contained in copy books, and taught (?) by the “ordinary’’ 
teacher of writing, is not only discouraging and senseless, but posi¬ 
tively injurious. We believe in simplifying the letters, showing 
similarities and differences, and any peculiarities in form, size, 
quality of line or movement—in other words, in teaching by com¬ 
parison. We believe that pupils ought to be taught self-reliance, 
to investigate, compare, and think some for themselves, and not 
serve as lifeless puppets, a mere receptacle for an endless harangue, 
devoid of substance—as is generally the case when confronted and 
terrified by the typical “ slant-and-space-line, copy book gas-bag. ’ ’ 
Make some sensible comparisons; explain a few peculiarities; al¬ 
low your pupils to imbibe .some of the enthusiasm of which you 
should be boiling over, and a little fresh air, and Form will present 
no difficulties to them. But there is one thing in Penmanship 
which you are not likely to consider too analytically; it is Move¬ 
ment. You should study every action of the arm, fingers, and 
wrist, and not only give pupils of a proper age a thorough under¬ 
standing of such, but be able to locate and advise the learner of 
the best method of overcoming any defects in muscular action. 

What Teachers Should Know and Be Able to Do.—Every 
teacher should be first of all a master of human nature; should be well 
versed in things generally; should possess the faculty of adaptation 
to a very large extent; should have a thorough and experimental 
knowledge of everything pertaining to writing—a knowledge of 
the anatomy of the arm, the objects to be attained and the best 


GKNKRAIv REMARKS AND INSTRUCTION. 


15 


means of attaining them, a critical knowledge of Form.and Move¬ 
ment, and how to teach them most effectively; he should be mas¬ 
ter of himself, and a good disciplinarian ; should be honest, frank, 
sympathizing, earnest, energetic, aspiring, sensible, and incapable of 
being satisfied short of complete success ; he should be broad-mind¬ 
ed and capable of originating plans and applianees, and inspiring 
his pupils with perfect confidence ; he should be a gentleman, ir¬ 
repressible, and possess a good flow of choice language, and be able 
to express himself tersely, clearly, and impressively; he should have 
the interest of every pupil at heart; and last, but not least, be able 
to set a living example —write a good copy. Teachers possessing 
the above qualifications cannot fail of a very high degree of suc¬ 
cess ; yet those less gifted need not despair, as they may be able 
to accomplish some good, at least. 

How to Teach.—Master everything in this book, and use 
common-sense and tact in its application, and you need have no 
fears of failure. However, you can make no mistake in taking 
the Penmanship papers, and getting all the information possible 
from other sources, as there is absolutely no danger oi'&.ncmva^ 2 i\\di 
being able to do too much. After mastering everything available 
on the subject, see if you can’t evolve, at least, two or three small 
ideas yourself. Don’t think that all you see in print is “iron¬ 
clad ’’ and inflexible. Every exigency cannot be foreseen and 
satisfied by a7iy author; you must use your oivn jiidgment occasion¬ 
ally. It may be necessary to modify some things, so as to adapt 
them \.o yo7ir circumsta^ices; but be sure you are right before you 
act. 

Many Copies.—Most authors and learners seem to think that 
the more copies a book on Penmanship contains the better. It is 
a grave mistake, as copies unaccompanied with proper instruction 
may be worse than useless, though there may be millions of them; 
in fact, many copies, eve7i whe7i acco77ipa7iied with good i7istructio7i, is 
generally detrimental; as the learner, over-zealous to advance, 
rushes from one to another, not giving himself time to master any¬ 
thing, thus forming bad habits and defeating the real object of 
practice^—-mu.scular training. As has already been stated, the most 
difficult and important part in learning to write is Movement— 
muscular training—gaining control of the muscles of hand and 
arm, which is the direct result of i7itellige7it, careful, and oft-repeat- 


16 LESSONS IN BUSINESS AND ARTISTIC WRITING. 

ed practice on a few well-selected 2 i\\di graded copies. One copy mas¬ 
tered means muscular control—the ability to write anything well 
after acquiring a knowledge of the form and a few minutes’ prac¬ 
tice ; but practice on much and mastery of nothing means more 
than complete failure—it signifies retrogression. Let us impress 
all once more with the fact that the great thing in learning to 
write is gaining control of the hand and arm, and that that can 
be accomplished 07ily by much well-directed practice on a few suit¬ 
able forms. ' 

VARIETY. 

Don’t give your pupils the same exercises every nor present 
a thing twice alike. Add or remove something, or clothe it in 
different language ; present it in a new and unexpected manner 
(not incorrectly). Search for new and better ideas and ways of 
presenting them, and don’t stop until 3 ^ou are a discoverer. 

A Caution,—But be careful not to make a Magic Lantern ex¬ 
hibition of writing ; don’t change your copies too often ; give the 
pupils plenty of time to comprehend and partly digest an exercise 
before leaving it. But make it interesting to them ; interest is 
the key to success in teaching writing. If you only arouse great 
interest among your pupils they will learn something, whether 
you know an^dhing about the subject or not. More originality, 
good sense, earnestness, enthusiasm, energy, and versatility is re¬ 
quired to teach writing successfully than any other subject. 

Right and Left Hand Theory.—A little intelligent observa¬ 
tion and investigation is all that is required to prove most conclu¬ 
sively that the ability to write well depends mainly upon Move¬ 
ment—co7itrol of the hayid and arm. Few penmen, though very 
skillful with the right hand, can write any better th^ the gener¬ 
ality of people with their left. Why ? Not because they do not 
k7iow how, do not thoi^oughly understa^id, Form and Movement ; 
but simply because they have not trained the muscles oi the left arm 
and hand—have 7iot suffcieyit cofitrol of them. However, there are a 
few who from necessity or for other reasons, have trained both 
right and left hands, and write skillfully with either. 

We know the above to be true ; the right aud left hand theory 
is simply nonsense. Train either hand properly, and you can 
write well ; yet we believe that one may require less training than 
the other, but such is because it has been partiall;^ trained already — 


GENERAL REMARKS AND INSTRUCTION. 17 

perhaps not by any special effort or method, but because of its 
greater and more general use in everything. Such theories are 
the direct result of ignorance or superstition. Away with them ! 
Those that have any doubts concerning the truthfulness of our as¬ 
sertions need only to call on the author, or practice diligently and 
intelligently for one or two months, to disabuse their minds of 
such foolishness. In muscular training lies the secret of good 
writhig. 

COMPETITIVE SPEED DRILLS. 

In every lesson of thirty minutes at least ten minutes should be 
devoted to speed drills on the figures, a few familiar exercises, 
words, or a sentence. There is nothing that will enable the teacher 
to secure better results in Movement and increase more interest in 
the work. 

One to three minutes is the time generally devoted to one exer¬ 
cise or word, and three to five minutes on a short sentence. 

Always have a special object in view, and select an exercise 
adapted. Chance work don’t pay. In many cases it is well to let 
the pupils know your object, but if it is to secure greater free¬ 
dom and ease of movement it is generally best not to mention the 
object until after the drill, as many will become nervous and in¬ 
tensify—stiffen—the muscles, instead of relaxing them, thus de¬ 
feating your purpose. 

Have them count immediately, and announce the result. The 
teacher should pass around and see how the pupils are doing, mak¬ 
ing suggestions here and there ; and he may, if he thinks proper, 
comment on the result of each drill, giving credit where it is due. 
He may collect the work, and announce who has done best, consid¬ 
ering both quantity and quality. 

Don’t allow your pupils to become reckless because you are giv¬ 
ing them some freedom. If your lessons are longer, you might 
give more time to speed work. 

Drilling on Common Words. —There is nothing that will in¬ 
crease the pupil’s speed more than frequent drilling on the “com¬ 
mon ’’ adjectives, adverbs, prepositions, verbs, etc.—as, if, on, an, 
of, in, at, he, it, etc. These words constitute at least one-half of 
ordinary written language, and if pupils are well drilled on them 
they will soon be able to almost or quite double their speed on 
them, thus increasing their speed one-fourth in general work, 


2 


LESSONS IN BUSINESS AND ARTISTIC WRITING. 


which is quite a saving of time, hence well worth trying ; besides 
it adds great interest to writing. A few days’ drilling will show 
marked results, which is always very gratifying both to pupil and 
parent. 

TIMED WRITING 

Counting for pupils while they are making exercises and letters 
is a most valuable aid, as it secures regular and uniform time, 
drives away sluggishness, creates interest, keeps all employed, 
does away with spasmodic and jerky movements, etc. 

Counting can be adapted to any exercise or word, but is usual¬ 
ly employed only when making simple exercises and letters. Ten 
or fifteen minutes spent on timed writing each day is quite bene¬ 
ficial to all pupils, and especially to those not far advanced. 

Methods Employed.—Some use what is known as a metro¬ 
nome (time measurer); others count; some strike an empty box 
for each stroke; other strike the hands together; and still others 
combine two or more of the above methods at one time, or alter¬ 
nate them—counting awhile, and then striking hands together; or 
using box and stick; or counting for all lines, and striking hands 
for down strokes, especially if shaded, etc. But in whatever man¬ 
ner the time of a stroke is indicated, be sure that it is regular and 
adapted. Of course, private learners must count or use the metro¬ 
nome. 

Some teachers make one count for each curve or straight line, 
yet such is not absolutely necessary; but we believe it best at the 
beginning. And it is not objectionable at anytime when the ex¬ 
ercises or letters are large or simple; however, when the pupils 
are somewhat advanced, three counts will be sufficient for nearly 
any letter or exercise, and will be much easier for the teacher and 
less perplexing to the pupils on complicated letters and exercises. 
It is only necessary that they be regular and adapted. 

It is often the case that peculiarities in movement or lines can 
be indicated by the manner of counting; and, when such is possi¬ 
ble, it is well to do it. For instance, if a stroke is long, the count 
may be prolonged; when to be shaded, it may be spoken with 
greater force; if the line is to be shaded or stopped abruptly— 
squarely—as the bottom of the reversed oval or small p, the count 
should be short and emphatic, etc. Examples of counting will be 
found in Part Two. 


GENERAL REMARKS AND INSTRUCTION. 


19 


Shading.—Shade is produced by an increased pressure on the 
pen. When curved lines are shaded, the greatest shade is gener¬ 
ally at the center, and gradually diminishes both ways to a hair 
line. Straight lines that are shaded usually receive the greatest 
shade at one end, except when between two turns—as first down 
stroke in • A, etc, and last down strokes in k, n, m, etc., in which 
the shade widest at center, and decreased equally towards turns. 

Wide shades at ends are known as ‘ ‘ square ” or “ snap shades. ’ ’ 
If at the top, as in small /, they are produced by spreading the 
points of the pen before starting; but if at the bottom, as in small 
/>, first part of capital W, etc., the pressure is gradually increased 
until the bottom is reached; then the pen is suddenly lifted from 
the paper before stopping motion of the hand, which ceases with 
pen slightly above paper. Shading is very useful and effective 
where boldness is a requisite, as in engrossing and ledger headings. 
It is also quite proper in artistic writing—in fact, wherever dis¬ 
play is desirable; but, if applied at all to business writing, it must 
be reduced to the minimim. 

DEFINITIONS AND EXPLANATIONS. 

Principles, in writing, are the common, oft-recurring forms. 

Base Line is the line upon which the letters rest. 

A Straight Line is one that does not bend. 

A right curve bends gradually to the right, as right side of 
O; the opposite side of O is a LEFT curve. Curves that bend 
very much are called full or round curves, those that bend but 
little, SLIGHT CURVES. We also have short turns, and oval, 
ROUND, or BROAD TURNS. The turn at the top of I illustrates the 
former, and the bottom of O the latter. 

In writing there is no difference between a point and an angu¬ 
lar JOINING ; the tops of p and i illustrate them. When there is 
very little space between the lines that produce them, they are 
called SHARP points, etc. 

Spaces in width and height are equal, being a little less than 
one-third of the distance between the ruled lines on ordinary writ¬ 
ing paper. 

Take a piece of stiff writing paper, and cut 3x4 inches; place 
it on your paper, with the lower end parallel with the bottom of the 


20 


I^ESSONS IN BUSINESS AND ARTISTIC WRITING. 


paper; draw a line from the lower left hand corner to the upper 
right hand corner. This will give you the proper slant of the 
letters. A line drawn from lower left hand corner to a point a lit¬ 
tle below center of right side will give you the slant of conyiecting 
lines. 

WRITING. 

As a Verb, writing is executing and combining the script let¬ 
ters and figures, in such a manner as to convey thought intelligi¬ 
bly; AS A NOUN, it is the result of making and combining such forms 
properly. 

Penmanship is a generic term, comprehending everything made 
with a pen. The simple line made with the pen and the elaborate 
pen-portrait are alike penmanship, though neither is writing. 
Writing is only a part, one branch of penmanship. It comprises 
the script letters and words only. Penmanship is the tree, writing 
a branch. It is just as proper to say tree when we mean branch, | 
as it is to call penmanship writing. Such an interchange of terms 
is not only incorrect, but is often deceptive, and intentionally so. 

Strictly Business Writing is small, simple, legible, and capa¬ 
ble of very rapid execution—in other words, is writing that is de¬ 
void of shade, superfluous lines, everything not conducive to 
speed, ease, and legibility. 

Artistic Writing must be legible; may be of any size, shaded / 
or unshaded, simple or flourished; should be fascinating, and may 
be executed either rapidly or slowly. Effect is its object, and 
nothing should be slighted that is conducive to it. 

Slow Writing for business purposes, however legible or beau¬ 
tiful, is practically a thing of the past. Writing, like everything 
else utilitarian, must meet the demands of the times, or cease to 
exist as a factor in business. 

EFFECT OF HABIT. 

If pupils are taught to write slowly in our schools, which is 
almost invariably the case, except when instructed by competent 
penmen, they need not be expected to write rapidly when they 
enter business ; and, if they should attempt to change their speed 
suddenly, it would be extremely discouraging, as the result would 
be a meaningless scrawl; however, such a change can be made. 


GRNfiRAL RKMARkS AND iNSTRUCT^IOlSf. 

but it requires very intelligent and thoughtful practice. Small 
children who are just beginning maybe allowed so write tolerably 
slowly until they have a fair idea of the forms; then their speed 
should be gradually increased; but there can be little excuse for 
older persons writing slowly at any time, except professional pen¬ 
men, when executing certain styles of artistic writing. But if 
the learner, whether old or young, is very deficient in form, a few 
minutes may be very profitably devoted each day to slow, careful 
writing; but such should always be followed by rapid work, and 
dropped altogether as soon as possible, for it is an arch enemy to 
good movement and business writing. 

Nervousness.—^What is known as “nervousness” (properly 
called ?iervelessness), is very commonly offered as an excuse for 
bad writing. To say that such is absolutely senseless but mildly 
expresses our feelings. It is our experience that there is 7iot one 
person in te7i thousand whose nervousness (nervelessness) is suffi¬ 
ciently serious to impede their progress in the least; in fact, we 
have found that persons possessing what we know as a “nerv¬ 
ous temperament, ’ ’ become the best writers. They seem to be 
more interested in their success, hence take more pains, make 
greater efforts, and improve fastest; besides, if one is ‘ ‘nervous’ ’ 
he could not do a better thing than practice writing, as nothing 
will assist more in overcoming it. Writing is a nerve trainer, 
and he who practices properly will soon learn that his precon¬ 
ceived ideas about “nervousness” preventing his becoming a good 
writer, are only imaghiary. So far as we know, all of the good 
penmen belong to the “nervous” class of humanity, without ex¬ 
ception. If your hand does not actually shake at all tunes you 
have no excuse for bad writing. An occasional shaking amounts 
to nothing; it is generally the result of scare, embarrassment or 
over-anxiousness to succeed. Intelligent and persevering prac¬ 
tice will insure success almost without exception. 

Neatness.—One of the first and most important things to learn 
in anything is neatness, and there is nothing in which it is of 
more importance than writing. A pupil that is not careful with 
his work is almost sure to make a failure in writing in every par¬ 
ticular ; he is not likely to take the pains necessary to become a 
writer, and should he acquire any skill, his slovenliness would 
make it useless. Keep your paper and fingers clean, everything 




22 LESSONS IN BUSINESS AND ARTtS^lC WRlI^IlSfCi. 

in proper shape, and work systematically, if you desire a high 
degree of success. 

Blackboard Writing.—In teaching large classes the black¬ 
board is quite indispensable, as the teacher can explain common 
faults or peculiarities to all in the time that would otherwise be 
required for one; besides, teachers will find the blackboard espe¬ 
cially useful in speed drills and general work at least. Some 
very successful teachers write all their copies on the board; how¬ 
ever, we do not favor the exclusive use of blackboard copies, but 
when used in connection with good copies in books or on slips, 
or at the head of the pupil’s paper, most excellent results can be 
accomplished. Every teacher of writing should be able to write 
well on the blackboard, or at least be able to illustrate faults and 
peculiarities of form with crayon 

While it requires considerable careful practice to become a skill¬ 
ful blackboard writer, we believe that every one who will try can 
learn to write a very fair copy after one or two months’ practice 
of an hour a day, which can be done after or before school time. 
Teachers who are lacking in self-confidence, or who become nerv¬ 
ous when writing before their pupils, might place the copies on 
the board before .school opens; yet it is always much better to 
write all copies in the presence of the pupils. 

In writing on the blackboard you should stand with the left 
side turned .slightly towards the board, but not touching it ; the 
body should be inclined a little to the left at the beginning, and 
resting mainly on the left foot; as you write the body should 
gradually assume an erect position, and then incline slightly to 
the right, with the weight transferred to the right foot; if the 
cop3^ is long, it will be necessary to change your position several 
times, or walk along as you write. You should always begin 
writing a little to the left of the body. Catch the crayon about 
one-half inch from one end, holding it between the th cmb, first 
and seeond fingers, and letting opposite end point . vard the 
knuckle joint of little finger. If you wish a fine line write on 
the sharp corner of the crayon, and turn it as you write. To 
shade, lower the right end slightly so as to let more of it touch 
the board and increase the pressure. A little thoughtful prac¬ 
tice and experimenting will reveal additional information unnec¬ 
essary to be given here. 


feENJlRAL remarks and INSI^RUCT'ION. 




MATERIAL. 

Paper. —Use none but good—the best is never the lowest in 
price, but is generally the cheapest. Some people think that any 
kind of paper is good enough for beginners—a serious mistake in¬ 
deed ; if skilled writers must have the best material to do first- 
class work, it is surely even 7 nore esse^itial that those unskilled 
should have that which is good. 

Fools’ or Legal Cap is Good Practice Paper. —When you 
have written on one side of a leaf, tear it off and write on 
the opposite side ; this is much better than folding, as the paper 
will be firmer. Never roll paper when you can help it, but if 
really necessary, begin rolling at the fold—the closed side or end. 

How to Tell Good Paper. —Hold between you and the light; 
if you .see cloud-like spots in it, it is not very good ; but the best 
test is to write on it. 

Ink. —Use nothing but black ink ; it is bad taste to use colored 
inks ; besides they fade and are injurious to the eyes. 

Pens and Pen-Holders. —For practice and ordinary purposes 
Gillott’s No. 604 is the best; for rough business purposes a coarser 
pen may be used, but never use a stiff pen ; it is too great a strain 
on the muscles and nerves ; such is productive of most cases of 
“writer’s cramp’’—“pen paralysis.’’ The use of lead pencils 
and small nickeled pen-holders is also a most potent cause of pen 
paralysis. Never use a pen-holder less than a quarter of an inch 
in diameter—three-eighths is a better size—and if you are inclined 
to “grip’’ the holder, a still larger size is better. Avoid nickeled 
and other slick holders as you would poison. 

Lastly. —Use pens, paper and ink judiciously, but don’t be 
afraid of using too much ; they will cost you less than bad writing. 

When your object is improvement, never use a pen over two 
hours; such is long enough to render any fine pointed steel pen 
practically worthless, and gold pens should not be used while 
learning, and we would hesitate before advising their use at any 
time. 

Table.— Flat-top tables are best. The table or desk should be 
at least eighteen inches wide, large enough for both arms and the 
paper without either hanging over the edges. 


^4 LESSONS IN BUSINESS AND ARTISTIC WRI'l'llSfO. 

Height.—This depends altogether upon the height of the 
learner. Twenty-nine to thirty inches is a good height for most 
persons, but thirty-one inches is none too tall for persons six feet 
in height; twenty-six to twenty-eight inches is about right for 
for children from lo to 14 years of age. Much better have the 
table too high than too low ; you will thus prevent your pupils 
from becoming stooped. 

Criticism.—This is extremely important to the learner; it is 
where he is most likely to fail. He will practice copy after copy, 
thoughtlessly perhaps, doing poorer each time. Why ? Because 
he does not think—does not study the copy, hunt for his faults, 
and try to discover the cause and take vigorous steps to correct 
them, but merely drifts along dozvn stream, of course. It is no less 
a stumbling-block to teachers; such is really the most important 
part of his work. It is not strange that pupils make maziy mis¬ 
takes, and discover few, for they rarely know where to look for 
errors, and are less likely to recognize them as such when seen, 
and is hardly expected to know how to correct and avoid them. 
Certainly no teacher has a right to plead such ignorance; for, if 
he does not know, he should politely “step down and out,’’ or 
“step up and investigate.’’ It is not enough for a teacher to 
WRITE good copies; he must illustrate them, point out every 
difficulty, and the best means of avoiding or overcoming it. He 
must be sympathetic, but must be .searching and unsparing in his 
critici.sm. 

Scribbling.—Don’t do it ! If you are not interested, or do not 
want to write, quit at once. Don’t annoy your teacher and injure 
your writing by scribbling—it isn’t manly. But don’t allow your¬ 
self to lose interest in anything useful; it is too childish; it shows 
weakness. Don’t! Don’t ! 

Discouragement.—This is the enemy of enemies to good writ¬ 
ing. Even when opposed by the most skillful teachers, under the 
most advantageous circumstances, thousands of reasonably strong- 
minded pupils have become its victims. It approaches the learner 
in all imaginable guises, to eonvince him that he is laboring in 
vain. It tells him that he is utterly devoid of talent, that he is 
way behind his classmates, that he is getting worse every day, 
that he writes well enough already, that only fools can learn to 





GENERAL REMARKS AND INST^RUCLION. 


25 


write anyway, that, if it were possible for him to learn to write, 
it would be practically worthless, and that he would never use it, 
as he is so smart in everything else, or that she is so pretty, etc. 
—ad mfinitum. 

Thus the learner is hounded and decoyed at every point, and es¬ 
pecially at his weak points; and hence only the wisest and most 
determined evade him, and reach the haven of safety. If you lis¬ 
ten to discouragement you are surely lost. There can be but one 
safe course, and that is to steer clear of him and all of his imps. 

INTEREST AND ENTHUSIASM. 

Most subjects abound in facts of much interest to the pupil. 
Such, we are sorry to say, is not tmie of writing until the learner 
is somewhat advanced. Yet it is not devoid of all interest. He 
rarely fails to discern any improvement, either in the forms or con¬ 
trol of his hand, and is accordingly inspired to make greater effort; 
but the main impelling force is the mother of invention— necessity. 

The interest, enthusiasm, and quality of work depend almost 
exclusively upon the teacher. If he is interested, enthusiastic, 
and presents the subject properly and interestingly, his pupils will 
do good work; otherwise, failure is inevitable. If your pupils 
are not interested, it is your fault. Set to work at once to discover 
and correct the mistake. You must interest your pupils; it is 
even necessary sometimes to amuse them for a minute or two, but 
the teacher should not be the subject. 

Individuality.—There are a few inexperienced and ignorant 
people who object to pupils being instructed in writing, because 
they think it destroys the individuality of their hand. It would 
be just as sensible to offer the same objections to the study of Ge¬ 
ography, Spelling, Arithmetic, Music, Reading, etc. Individual¬ 
ity is the result of taste. If taste be cultivated, individuality will 
be modified to that extent; but, as taste cannot be entirely changed, 
individuality cannot be destroyed. Cultivation of taste destroys 
only unharmonious, uncouth, and harmful eccentricities; hence it 
makes individuality less obnoxious—improves it, but does not 
eliminate it. Pupils may be under the instruction of the same 
teacher for a quarter of a century, and persons familiar with their 
work can always discern whose it is. It is sheer nonsense to talk 
about destroying one’s individuality in anything. 


26 


tSiSSONS IN BUSINESS AND ARTISTIC WRITINU, 


Care of Material and Getting Ready to Write.—In most 
schools, especially where the pupils are small, it will be well for 
teachers to see to keeping, distributing, and collecting material. 
In such cases the teacher should select certain pupils for that pur¬ 
pose, and see that it is done properly. Signals may be given for 
getting ready to write, closing, distributing, and collecting ma¬ 
terial, if the teacher thinks best. We have found such quite ad¬ 
vantageous in our work, and believe others will find them equal¬ 
ly so, if properly conducted. 

Clothing.—If you desire to learn to write, you must remove 
everythhig interferes hi the least with the freedom of your hand 
and arm. Cuffs and tight sleeves are arch enemies to good writing. 
If you persist in wearing either when writing, you must give up 
the hope of ever writing well.. There is no compromising. 

FOOD FOR THOUGHT. 

All sensible people (male or female), having one hand, can learn 
to write well if properly instructed. There is absolutely no hope 
for “dudes,” “dudines,” and smart “Alecks.” If you belong 
to either class, better give up writing at once, or your profession ; 
for your practice will be fruitless. 

The time to begin writing is when the child begins to read. See 
that it is started right; a mistake here is serious. Parents, don’t 
let your children be cheated out of good writing by an ignorant 
or designing teacher. No part of its education will be more valua¬ 
ble. See that it gets writing or a better teacher. 

Steer clear of the average copy books. They ignore hand 
training— that upon which the pupil needs most assistance, and 
which makes writing valuable, or, neglected, makes it worthless. 

Study Form much; study and practice Movement very much. 
Good Movement means good writing ; poor Movement = nothing. 

Put one-third as much study, careful and intelligent practice, on 
writing as you do on any other branch, and you will be more pro¬ 
ficient in it than in anything else. 

Writing is the mouthpiece" of business. Neglect it, and your 
business is without a ‘ ‘ mouthpiece, ’ ’ and you will soon be without 
a business. 


GENERAL REMARKS AND INSTRUCTION. 




The person that possesses sense and energy, and writes an easy, 
rapid, and legible hand is always sure of a good job. Don’t neg¬ 
lect your writing; you can’t afford it. 

Don’t say you have never had an opportunity to learn to write. 
Persons of the “right material’’ don’t wait for opportunities; 
they make them. 

More persons would write well, if they were not too lazy to 
make the necessary effort. 

Blockheads and lazy people are constitutionally debarred from 
becoming good writers; others need have no fears. 

In writing, as in other things, be sure yon see the mark, and 
shoot until you hit it. 

Degibility, speed, and ease are the only really necessary ele¬ 
ments of Business writing; but not one of these must be lacking. 

You cannot acquire a good, easy Movement writing slowly; nor 
can you expect the best Form writing real rapidly. Alternate; 
think of what you are doing, and practice much, and you will get 
both. 

Duty and to-day are yours. Take care of them, and results and 
the future will take care of themselves. 

Don’t forget speed. Movement, and legibility; look after your 
enthusiasm; don’t become discouraged, and “keep pegging 
away.’’ 

Gain control of your hand; then writing will be a pleasure. 
You can. Will you? 

These lessons are intended for thirty to forty-five minute pe¬ 
riods ; if less time is devoted to a lesson, fewer exercises and let¬ 
ters should be taken up; but if the periods are an hour in length, 
it might be well to add an additional exercise, letter or word. 
But, of course, the size of the lesson depends largely upon the 
age and advancement of the pupils. If the pupils are small, and 
only fifteen or twenty minutes can be devoted to writing, one of 
these lessons is long enough for two ; but if the pupils are well 
advanced and the periods an hour, two lessons may be combined. 


2§ LSSSON^ IN BU^INNSS AND ARTIS'TiC WRiTINCi. 

But don: t, don’t half teach a lesson ; be thorough—it pays. Nor 
should you wear your pupils out on one thing ; vary the work 
occasionally, giving one letter, class of letters or exercises special 
attention to-day, and another to-morrow, then take up the work 
again as outlined. We believe that our arrangement of the work 
is best, but it is not the only good one. “Circumstances modify 
cases, ’ ’ but be sure that the circumstances are sufficient before 
you begin to modify. 

Not very many words are given in the earlier lessons ; if the 
teacher thinks best he may add an occasional word, or even a 
short sentence, in harmony with the lessons in hand. But al¬ 
ways aim at certain results and work systematically and earnestly, 
and never abandon a plan until you know by experience that it is 
unworthy. 

Abbreviations Used.—Rep., repeat or repractice ; Ex., exer¬ 
cise; Exs., exercises; Pr., principle; Prs., principles; M., move¬ 
ment; A., arm; F., finger; Dr., drill: Drs., drills; P. P., proper 
position. 

Read and Re-read.—All (whether private learners or pupils in 
school) who desire the best results from pursuing this or any other 
course in writing, should thoughtfully read, re-read and rigidly 
follow all of the instruction contained in this book, and must not 
be sparing in practice. 

The following subjects should be studied every day until they 
are thoroughly understood—practically applied: Form and Move¬ 
ment, Size of Writing, Competitive Speed Drills, Drills on Com¬ 
mon Words, Material, The Writing Period, Food for Thought, 
Timed Writing, Effect of Habit, Definitions, Causes and Neglect 
of Writing, etc. 


LZJJQHJ FROfER. 


B efore: proce:fding any furthe:r or practicing any, 

WRITE the FOEEOWING IN YOUR OWN STYLE, BUT AS 
GOOD AS YOU CAN —a set of figures, both sruall and cap¬ 
ital letters, and fill a half page with this sensible and truthful 
stanza, and preserve for comparison : 

‘ ‘ Who would become a writer fine 
Must take a deal of pains. 

Must criticise his every line, 

And mix his ink with brains.” 

Position.—Sit directly facing the table, if possible; otherwise 
with right side turned slightly towards it, and with feet in front 
of chair and resting flatly and firmly on the floor. 

Body.—The body should incline a little forward and to left, so 
as to bring the eyes within ten or twelve inches of the writing; 
the bend should be at hips and not at shoulders. Body should 
not touch desk. 



The above plate illustrates position of paper, arms, hands, etc. 
I repre.sents top of table; 2, paper; 3, hands; 4, arm rest—mus¬ 
cle just below elbow; 5, elbow in different positions; 6, upper 
arm ; 7, left arm below elbow ; 8, the body. Notice three posi- 

(29) 









30 


LESSONS IN BUSINESS AND ARTISTIC WRITING. 


tions of right arm. When beginning on a line there will be an 
acute angle at elbow ; when hand is at middle of page there should 
be a right angle, and when at right side-end of line, an obtuse 
angle. Study diagram, and position of arms, paper, etc., will be 
easily understood. 

Arms.—The arms should rest upon table at about right angles 
to each other. (See diagram.) The elbows should be about ten 
inches from the body, and on a line passing directly in front of 
body ; left arm should rest firmly, so as partly to support and 
steady the body ; left hand should hold and adjust the paper-; 
right arm should rest lightly on the muscle just below elbow; turn 
hand well over to left so as to have flat side of wrist parallel with 
top of table. There should be a square corner, or right angle, at 
elbow generally ; don’t get elbow too near body or too far back, 
as it will greatly retard a free movement. The W 7 ist must not 
touch the paper at any time. 



Now, take a good sized pen-holder (say, a third of an inch or 
more in diameter) that has no nickel, tin, or any other slick sub¬ 
stance about it; insert a flexible pen—Gillott’s 604 H. F. is ex¬ 
cellent for the learner, but a coarser (not stiffer) one may be 
used for business —and hold loosely as is shown in accompanying 
diagram. Notice that third and fourth fingers are drawn well 
under the hand, that end of forefinger rests on top of penholder, 
and is bent out at middle joint; same is true of thumb at lower 
joint; inner side of thumb should press against lower side of 
holder, about opposite lower joint of forefinger; lower end of 
holder .should rest against middle finger at root of nail; upper 
end of holder should rest against forefinger near knuckle joint; 
we advise letting it rest back of, below it, as the holder will slant 
more and will not be so likely to stick into the paper. 








LKSSONS PROPKR. 


31 


Fingers.-—^Let the tips of the third and fourth fingers, or last 
joint of fourth (little) finger, touch the paper very lightly to 
steady the hand—we advise the latter because bringing the hand 
nearer (not touching) the paper, it insures better control of the 
pen —more real writing power; in this position the hand seems to 
be better braced, hence steadier, than when the tips of the nails 
touch. Notice that in either case the rest is movable, constantly 
changing, .so that the tips of the nails or joint of finger, if inked, 
would make the same letter made with the pen. 

Movement.—Now we have come to the only difficulty (if 
there is one) in learning to write. Thoroughly master move¬ 
ment—that is, gain good control of the hand, and what remains 
for you to learn in writing will be little more than pastime. It is 
true that the form of the letters must be learned ; but that is easy. 
Movement is the foundation, the real life, of writing, whether 
business or artistic; neglect it, and your practice is a farce, and 
your writing the completest failure. In business writing we ad¬ 
vise combined movement, a harmonious union and action of arm, 
wrist, thumb-and fingers, in which ar 7 n action or ^novement very 
largely predominates. The action of the wrist should be very 
limited, merely sympathizing with the thumb, fingers and arm; 
tha^ of the hand should be quite restricted, being confined mainly 
to thumb, first and second fingers, but both may be used advan¬ 
tageously in connection with arm action in making sharp angles, 
short hirns, shades,, and long and difficult lines, straight or curved. 
This is THE MOVEMENT for business writing. 

Cautions .—Be vefy, very careful 7 iot to use the thumb and fin¬ 
gers too much. ^ Keep the arm resting lightly on the muscle just 
below elbow ; never raise the arm from the table in business writ¬ 
ing, except to change its position, which should not be necessary 
unless the page is very wide. Don’t grip the penholder, but hold 
it just tight enough to keep it from turning or slipping; keep the 
wrist flat with the table, never touching it; the muscles of the 
arm, fingers, thumb, etc., should be lax and free to act in any di- 
7 'ectio 7 i; the muscles just below the elbow should be the oyily sta¬ 
tionary rest for arm ; the hand rest (tips of nails of third and 
fourth fingers, or lowest joint of little finger) must 7 iot be station¬ 
ary, but cha 7 tge constantly, so that, if inked, it would make the 


32 


LESSONS IN BUSINESS AND ARTISTIC WRITING. 


same letters made with the pen. Whatever else you do, don't 
neglect movement, and never stop until it \sfree and easy. 

lesson I. —Movement Drills- —Assume position as de¬ 
scribed, close the fingers, and practice at least three minutes on 
each of the following exercises, keeping the wrist and hand from 
touching the paper, and being careful to have the arm roll, not 
slide: (i) Push arm in and out of sleeve, as if rolling a small 
ball or pencil under wrist or hand, counting one for each move¬ 
ment—rate, 140 times a minute ; (2) Roll arm to right, as if roll¬ 
ing ball under the hand—rate, 150 ; (3) Roll arm to left, as above ; 
(4) Straighten fingers and move as in i ; (5) With fingers straight, 
move as in 2 ; (6) With fingers straight, move as in 3. Repeat 
the above or other suitable exercises each lesson until a good, 
free movement is acquired. At the beginning of lessons, is gen¬ 
erally the best time. 

Drill on Position and Penholding.—Sit erect, with arms at 
side or resting easily on the table ; the penholder should be on 
the table, in front and parallel to side of paper or back of table, 
with the pen end to the right, so that when picked up it will 
be in proper position without being turned; now place paper in 
position, take up penholder, and assume proper position of 
arms, hand, body, etc; repeat a dozen or more times each les¬ 
son until thoroughl}^ learned. In classes, the teachers may 
give signals for each act, as Adjust paper ; take pens ; po¬ 
sition ; REPLACE pens; PAPER; REST, etc. Of course, the 
teacher is not obliged to use the signals given here, but may 
count, or use any others. A little tact will enable him to make 
these drills quite interesting. 

LESSON 2.—(i) Repeat drills in Lesson i. (2) Take holder; 
reverse, holding properly (except not letting fingers touch paper), 
and move as directed in Exercises i, 2, 3, preceding lesson; then 
repractice, hand resting as in writing proper. (3) Take ink, and 
practice on Exercises i, 2, 3, Plate i. 

Notice that the figures inclosed in parentheses refer to the Prin¬ 
ciples; others number Exercises. 


LESSONS PROPER. 


33 



Note. —Don’t spend less than five minutes on each exercise 
and letter, and at least ten minutes on each word in these lessons, 
and repeat often. 

Always be on the lookout for resemblauces in the letters; com¬ 
pare and study them. When making one letter, think of all the 
other letters that have similar parts. Comparison is a very valu¬ 
able aid in both Form and Movement. Don’t neglect it. 

Have some timed practice on each exercise and letter, both small 
and capi als. Its importance can hardly be overestimated in se¬ 
curing fr..edom, ease, and uniformity of action. Ten minutes a 
day will generally be sufficient, after the work is once fairly be¬ 
gun ; but first there should be a count made for each stroke (line). 
As for each of the Prs. i, 2, and 3, the count .should be : One, 
ONE, etc.; for Prs..4 and 5, onc. Two—one, two, etc.; for Ex. 
4, ONE, TWO, THREE—ONE, TWO, THREE, etc.; for M, ONE, TWO— 
ONE, TWO. THREE, or ONE, TWO, THREE, FOUR, FIVE. We advise 
the first count, as it seems easier. Re-read what is said of ''timed 
writing'' Part First. 

Read all instructions and cautions belonging to each lesson before 
beginning to practice. 

LESSON 3. —Spend ten minutes on Movement-, and Position, 
Drills, as in Lesson 2; then take up Prs. i, 2, and 3, spending at 
least five minutes on each. Pr. i is straight, and should be made 
downward with Arm Movement. Pr. 2 is a right curve, 3 is a 
left curve. Both should be made upward with A. M.—height one- 
fourth the distance to line above. Prs. 2 and 3 lean nearly twice 
as much as i. Rate, ioo to 200 a minute. 

LESSON 4. —Spend ten minutes on Drs. and Prs. of last les¬ 
son ; then take up Prs. 4, 5, and Ex. 4. Begin Pr. 4 and Ex. 4 
at bottom, and Pr. 5 at top. 

All down strokes in i, u, w, n, m, v, and x are straight; the up¬ 
strokes are curved slightly; i, u, w, n, m, v, x, o, a, c, and e, are 
3 


34 


LKSSONS IN BUSINESS AND ARTISTIC WRITING. 


same height^ 7iot considering dot of i. All aie one space in height 
that is,'extendone-foiirth to line above. Keep your writing on base 
line—that is, touching it. 

lesson 5. — Practice fifteen niinntes on Exs. i, 2, 3, 4, 
and Prs. i, 2, 3, 4, and 5; then take up i and Ex. 5. The dot 
should be the height of main part of letter above the sharp point; 
i is same as Principle 4, except dot. Upstrokes are alike, and 
openings at top and bottom are the same. Ex. 5 is f’s joined— 
dots omitted. First join TWO, THREE; then four or more ds. 

lesson 6.—Five minutes on P. andd/. Drs., as in Lesson i; 
same time on Exs. 4 and 5. Spend fifteen minutes on u, two u's 
joined, and Ex. 6 (three joined). Notice short turns at bot¬ 
tom, and sharp points at top; also, that down strokes are straight 
and parallel; upstrokes are right curves, much more slanting, but 
parallel. 

Don’t forget Movement. See that the hand slides lightly, and continues 
to move as the pen does. Be sure you know how to make a letter before be¬ 
ginning to practice on it. Your head and hand must act in unison, but the 
head must act first When you know the shape of a letter so well that you 
imagine you can see it with your eyes shut, you might begin to practice. 

LESSON 7.—Spend ten minutes on Exs. 4, 5, 6, and u ; then 
take up IV and Ex. 7. Notice that w and u are alike to last turn 
at bottom. Last upstroke in w slants less than in u, making open¬ 
ing at top narrower than in u. Study finish. Observe that first 
three lines of w are same as Ex. 4; also, that u is Ex. 4, with last 
two lines repeated. 

LESSON 8.— Repeat P. and Af. Drs. in Lesson i, and study and 
practice Exs. 8, 9, and v. All turns in the small letters are short, 
and generally alike. Most down strokes in the small letters are 
straight, and all except the first in a, d, g, and q are on main slant 
—the general slant of all letters. Last two strokes in v, w, and 
b are alike. Write rapidly, but thoughtfully. 



[PCATK 2.] 


LESSONS PROPER. 


35 


I^ESSON 9.—Ten minutes on Exs. 8, 9, and v. Take up Ex. 
10, n, and Ex. ii. w is made from Ex. 8. Openings at top and 
bottom are equal. All turns at top; turn and point at bottom. 

If your hand perspires, it would be well to keep a blotter under it. Never 
try to write on a hard top table, with little paper under the hand ; you will 
spoil too many pens. It is best to have at least six sheets of paper and a large 
blotter under it. Keep your paper clean. Don’t try to go too fast, but do 
your work thoroughly. 

LESSON 10.—Repeat n, Ex. ii, and take np x and 7 n. Make 
Ex. 8, and cross down stroke at center with straight line, and you 
have .V. This finishing stroke is best made with an upward move¬ 
ment. m is n with first two lines prefixed. Study and compare 
these letters. 

LESSON 11.— Repeat P. andM. Drs., and take up Exs. 12 and 
13. Notice that Ex. 13 is f, w, and z; joined; practice on each 
letter separately first. Whether we so direct or not, we ahvays wish 
you to practice joining two letters before johiing three. After con¬ 
necting three, try four, five, six, or even a dozen, if possible with¬ 
out changing arm rest. One of the main objects of joining letters 
in practice, is to enable you to acquire an easy sliding movement. 
Occasionally it is well to practice making the letters from a half 
to two inches apart. 

Often practice for two or three minutes with penholder reversed, 
merely making the motions over the letters. 

LESSON 12.— Repeat 12, 13, and spend remainder of time 

on minimum. All down strokes are .straight and slant alike. Up 
strokes are curved and slant alike, but are much more slanting. 
Opening at top and bottom should be the same. Strike oict boldly 
and feely, even if you cannot do such good work. Be sure you 
know how to make a letter, and try to make it; but don’t sacrifice 
Movement. If you take care of it, constantly aiming at Form, and 
practice diligently, you will acquire both. Don’t become di.scour- 
aged ; good things generally co.st persistent and well-directed 
effort. 

Write like you meant it. j'y other words, put some force and strength into 
your lines. 

Follow the copies and instruction in every particular. You need not expect 
any benefit unless you try to do something, and that well. Save some of 
your work and compare. . 


36 LESSONS IN BUSINESS AND ARTISTIC WRITING. 

LESSON 13.— Repractice minimum, Exs. 4, 5, Pr. 2, and take 
up e and c. Notice the similarity in e and c; down strokes are 
practically .straight; loop in e is two-thirds its length. Introduc¬ 
tory stroke in c maybe omitted ; it has small dot at top. 

( aution. —Make loop in c very narrow, and avoid broad turn at 
bottom. 

lesson 14.— Repeat P. and#/. D/s.,e,c, and practice joining 
two, three, and as many as eight e s, as in Ex. 14. Combine r/ 
also. N'o shade : easy, rapid movement. Rate : Make from 75 to 
r2o good single e's or c s in a minute, or 100 to lyo of either 
joined. 



LESSON 15.—Repractice minimum, and spend a/#<2.9^ twenty 
minutes on and combined, as in Ex. 15. Both sides of 0 
should be curved alike, close at the top, and don't make 2. loop 
in it. The tendency is to make all down strokes straight, and 0 is 
not an exception. Rate: 60 to 100 single i?' .9, and 80 to 125 joined. j 

Introductory line in 0, a, d, g, and q may be and should be omit- j 

ted in strictly business writing. Repractice 0 and 0 exercises often. I 

No scratching or scrawling. See how’ many letters you can make without j 
lifting the pen. Write rapidly and carefully, and no larger than the cop}^ 
Make ease a specialty. Free movement ; uniformity in slant and spacing. j 
Don’t become discouraged or lazy. 

LESSON 16.—Practice 0 as in last lesson, and continue lesson 
on oven and Ex. 16. Oven should be written at the rate of 20 or 
more a minute; advanced pupils should write it 35 to 50 times. 
Notice that Ex. t 6 is a horizontal oval. Make at least twice as 
long as broad. Move entirely around, twenty or more times, as 
nearly in same place as possible at the rate of 150 to 250 a min¬ 
ute. Touch paper very lightly. Count one for each time you go 
around. After going one way for three or four minutes; move in 
opposite direction. Repractice often. 






lessons proper. 


37 


Do not worry about improvement, but do your work well, and improve¬ 
ment will take care of itself. Don’t let anything interfere with your prac¬ 
tice, but keep “pegging away.” 

LESSON 17.—Repractice Exs. i, 2, 3, 15, 16, and and close 
lesson with study and practice on Ex. 17 and O. Notice that 0 is 
in center of Ex. 17. Avoid making lower lines of this exercise 
too straight. Upper and lower sides are curved equally. Finish 
above base line. Sides of O are curved equally. The tendency 
is to make down strokes straight; avoid it. Close with small 
loop at top. Study copy. Count for Ex. 17: One, Two, three. 
Rate : 50 to 75 a minute. Count for O: One, Two, three, or 
One, two, with second count prolonged; 60 to 100 a minute. In 
speaking of rate or speed, if the time is not given, one minute is 
to be understood. 

LESSON 18.—Repractice Exs. 16, 17, and O; continue on Exs. 
18, 19, and Pr. ii, in the order given; five minutes or more on 
each, and repeat often Make six down stokes in 18 and 19, and 
without shade at first. Notice how lines lap, giving the appear¬ 
ance of a coil of wire partl)^ drawn out. Count: One, two, three, 
FOUR, FIVE, SIX. Speed : 25 to 40. Slant as in copy. Right 
side of Pr. i i is somewhat straighter than left side. Make with 
pure up-aud-down arm movement. Avoid making Too broad —a 
very common fault. Rate : 60 to 100. No shade at first. 

LESSON 19.—Repeat P. and M. Drs., Ex. 18, 19, Pr. ii, and 
close le.sson with Ex. 20 and ^nininmm. 

Shading is a matter of taste, but strictly business writing should be shaded 
very little., if at all; however, in learning we advise occasional practice on 
shading, as it strengthens the movement, gives prmness to writing. But if 
your object is simply good business writing, don't mdulge too freely. 

LESSON 20.—Repeat ove 7 i, Exs. 15, 16, 17, and close with 
21 and 22. Notice that a's are in center of the horizontal ovals ; 
curve upper and lower sides equally; avoid corners and straight 
lines. Rate: 50 to 75. Keep letters of same height, same in 
height. 

Try to overcome some particular fault each day. 


38 


I.ESSONS IN BUSINESS AND AREISTIC WRITING. 



LESSON 21.—Repeat Exs. i6, 17, 18, 19, 20, and join two 
O's; then Three and four, as Ex. 23. Notice that there are 
three loops in each, after the first. Don’t stop until 3^011 reach 
the blue line. Compare your work with copy. Avoid making O 
too broad, and curve both sides alike. 

LESSON 22.—Repeat 0 Ex. 23, and continue lesson on a and 
Aim. Practice on A a few minutes before writing entire word. 
Compare 0, O, a and A. Notice that main parts of a and A are 
similar. Initial line in a is not essential and maj^ be omitted. 
The same is true of 0, d, g, q, etc., when the first letter of a word, 
or alone. Last three lines are same as Ex. 4, last three lines in 
u, first three in zv, i without the dot, etc. First down strokes in 
a and A are slanted much more than those of o and O ; turns at 
bottom are short, and up-strokes are nearly straight, as finst line 
in i. A finishes with left curve a little below base line, zvhich 
must not be shaded. 

LESSON 23.—Repeat Exs. 18, 19, 23, and a, Aim, and close 
with 24 and 25. Follow each exercise from beginning to end 
with eye, or retrace lightly with dry pen, so as to get an idea of 
the movement, before beginning to write. Keep your eyes opezi; 
think and act lively. 24 is a valuable exerci.se and will bear much 
repetition. 

If an exercise or letter seems a little hard at first, don’t give it up, but 
continue to study and practice it, and the difficulties will gradually disap¬ 
pear. Perseverance, guided by intelligence never fails lo conquer. Stick to 
base line with your work. 

LESSON 24.—Repractice Exs. i, 2, 4, 5, 24, A and/, and Ex. 
26. Observe that the bottom of / is Ex. 4. Crossing in /, b, h 
and k is at one-third height; up stroke is a medium curve; down 


IvESSONS PROPER. 


39 


stroke \s, practically straight. Join two Ps, thenetc., spend¬ 
ing five minutes or more on each, and repeat often. The / loop 
is difficult and requires much careful (not slow) practice. Finish 
carefully. I should extend three-fourths the distance to line 
above. Rate—Single /’s, 50 to 80. 

See that your writing is uniform in slant and spacing. It is well to prac¬ 
tice large writing and shading occasionally; it disciplines the hand. 

FESSON 25.—Repeat/*, and M. Drs., /, Ex. 26 ; conclude les¬ 
son with b and Ex. 27. The loop is same as in /, and the finish 
same as that of v and w. 

Cautions. —In combining b's there is a tendency to make all the cross¬ 
ings after the first too high, thus making loops too short; also to make each 
succeeding letter shorter and lean it more than those preceding. Special 
attention to ease a?id freedom. 




[Plate 5-] 


LESSON 26.—Repractice in Exs. ii, 26, 27, /, and take up 
bun, li, and Ex. 28, spending at least five minutes on each. Last 
part of h is Ex. 8, etc. See in what other letters and exercises 
you can find it. Notice joining of b and u. 

Ahvays spend at least half of the time each lesson on the new exercises, 
letters or loords. 

LESSON 27.—Repeat I, Ex. 28, bun, join four /’s, and con¬ 
clude with boon and k. Loop in k is same as in /, h and b; sec¬ 
ond up stroke is somewhat similar to corresponding line in li, but 
longer, curved more and extends up some closer to loop—finish 
it with dot. Lift pen, touching line just mentioned slightly 
above center, and finish with la.st two lines in h. Pr. 5. k is 
generally regarded as a hard letter, but study and practice will 
soon remove all difficulties. 


Strive for a free and easy movement. 


40 


LESSONS IN BUSINESS AND ARTIS'BiC WRI*fI]SfO, 


LESSON 28.—Repractice h, k, Exs. 24, 28, and close with 
Ex. 29 and kin. 

Give special attention to letters that seem difficnlt to you. Find your 
faults and try to correct them; this is the secret of success. 

Be neat, careful, and work. 

LESSON 29.—Repeat h, k, Exs. 26, 29, and continue on 
ble and f. Notice. —No letter previous to f has extended below 
base line. Begin f as /^, but instead of stopping at ba.se line, 
continue downward with straight line hall way to line below; 
this is the longest straight line in any of the letters and will re¬ 
quire some special practice. Finish begins at base line. It is 
easy. 


LESSON 30.—Repeat Ji, himible, f, and complete les.son with 
Ex. 30 and lull. Try to get three loops in lull .same size. It will 
be neces.sary to give the loop letters /, b, /?, k, f y, g, y, and 
special attention. The capital letters, and /, b, /?, k and f .should 
extend about three-fourth.s the way to line above, never over 
four-fifths, and may not extend over one-half. Don’t write large, 
nor .so small as to be illegible. 

Watch slant, spacing, movement, etc. Work with all your might. Do a 
little bold work occasionally; it will strengthen your movement. 

Acctirate forms and free movement are what you luant. 



[Plate 6 .] 

LESSON 31. Repractice /, b, h, and exercises, and take up p. 
Notice that it extends half wa}^ to line above and two-thirds as 
far below, or as far as f. The long down stroke is straight and* 
may be shaded very slightly at bottom. The finish is Ex. 8, same 
as finrsh o{ n, m, h, and first parts of j/and x. Study copy 
closely. Join two p's, then three, as exercise 31. 


lessons proper. 


41 


LESSON 32.—Repractice Exs. 8 and ii,/, h, twojoined, 
and complete lesson with pelican and r. First line of r is that 
of z lengthened one-fourth. Notice small left curve at top be¬ 
tween point and shoulder, or hiryi ; the part from shoulder to fin¬ 
ish is last tw'o lines in i, n, m, h, ete.; compare ; r is one-fourth 
taller than n, m, etc. Combine two s. 

Observe instructions in regard to position, penholding, etc. Let your main 
object be control of the arm; but if you don’t try to make the exercises and 
letters properly you will never attain it. The forms are to be used as a 
means —control of the hand and arm is the e 7 id. 

LESSON 33.—Repractice p, r, andEx. 31. New copy : Ex. 32. 
s and Slimmer. First strokes in rand s are alike ; also same in 
height. Down stroke in .y begins with a slight left and merges 
into a full right curve. Study and practice much. Last .stroke 
may be omitted when a final letter. 

LEvSSON 34.—Repractice p, r, s, and Exs. 3, 2 and 4. New 
copy : /, Ex. 33 and tune. Notice that bottom of Os same as Ex. 
4, i without dot, first or last three lines of n, etc. t is twdce as 
tall as n, m, etc. May be shaded slightly at top. Is finished 
[crossed, as it is called,) in several ways. See copies. 

Keep your copy before you and study it-, compare with your work. Work 
vigorously, but not carelessly or thoughtlessly. If you don’t look for faults 
you will never find them; practice is worthless if not thoughtful and careful. 

LESSON 35.—Repractice t, O, A, Exs. 18, 19 and 20. New 
copy: Pr. ii and C. Notice similarity between form of reversed 
oval (Pr. 11) previously given, and present form. Compare O, 
A, and C. Caution. —Avoid making small ovals in top of Pr. 
II, and C too large. Need not shade. 

^ ^ ^/ r f 0 

LESSON 36.— M and P, Drs, as in Lesson i. New work; 
Figures i, 2, 3 and 4. Study copy closely. Begin 2 and 3 with 
small dot or short straight line. Always make simple, small and 
unshaded figures for oi'dinary purposes. 

Figures are for business only, and flourishes should not be tolerated. 

LESSON 37.—Repractice i, 2, 3 and 4. New Work. —5, 6 
and 7. 6 is generally made some taller than other figures, and 


42 


LKSSONS IN BUSINESS AND ARTISTIC WRITING. 


8 and g are supposed to extend a little below base line, though 
not 7iecessarily . Caution. —Avoid making bottom of 6 and top 
of 7 too large. 

Keep your elbows eight to ten inches from your body, and your fingers 
moving with the pen. Don’t let your wrist touch the paper. Follow the 
copy. Do your best. 

CESSON 38.—Repractice 5, 6 and 7. New Wo 7 'k —8, 9 and 0 . 
Begin 8 with either down or up stroke, as seems easiest. Top of 

9 is similar to oval in a, d, g, and q, only smaller. 

LESSON 39.^—Repractice all of the figures, spending three to 
five minutes on each. Remember that figure //taking is a very 
esse/itialpa/d of writi/ig, a/id you //lust /tot /leglect it. If a letter 
is illegible, we may sometimes determine its identity by that 
which precedes and follows; but if a figure is illegible, the only 
recourse is the memory of the writer, which is not only u/ireli- 
able, but very tmsatisfactory, at best. It certai/ily pays to //take 
goodfigu/'es. A few minutes’ practice on the figures each day 
would be well spent. 

Speed yourself on the figures in regular order, backwards and promis¬ 
cuously. Don’t be content until you can make from 140 to 180 good figures 
a minute. COUNT. —When making the figures in order, we count one for 
each figure; separately, we count two for 2, 6, 8, 9 and 0, and three for all 
others except i. 



LESSON 40.—Repractice O and O’i'joined, as Ex. 23, A and 
C. New copy : Reversed oval and //; begin z/close to O; curve 
sides of O equally ; make long stroke in H up ; notice that it is 
nearly straight at bottom, and that the curv-ature increases toward 
top. The finish should be small and attached as in copy. Avoid 
separating main parts of H too much. 


LESSONS PROPER. 


43 


Strength and firmness of writing depend mainly upon the down strokes, 
place some of your work to one side; take it up in a few days, criticise and 
repractice. Keep your letters on the blue line. Overcome some particular 
fault each day. Avoid much shading. 

LESSON 41.—Repractice a, A, t and pelican. New copy: 
d and Kemper. Rower part of d is a; last three lines in d are t 
except the cross ; two parts of K touch at center ; openings at 
top and bottom are equal. Notice two compound curves in upper 
right half; give special attention. Oval in top of Pr. ii should 
be small— 7 iever larger than in copy. 

LESSON 42.—Repractice I b, h, k, and Exs. 26, 27, 28, 29, 30. 
New copy : Exs. 34 and 35. Notice that Ex. 34 is a repetition 
of first part of Pr. 5, or first two lines of n, m, etc ; only four or 
five times usual height. Make from base to top line with up- 
and-dozvn arm movemezit; this is most excellent for developing 
arm movement. Ex. 35 is three simple d/L joined. 

Practice these exercises rapidly, say 150 to 200 strokes a minute; no shade. 
Make the strokes close together; count— down — up, down, etc. 

Notice that in the small letters nearly all down strokes are straight, and 
that the up strokes are curved, without an exception; also, that the natural 
tendency in all writing seems to be to make up strokes curved and quite 
slanting, and down strokes straight and nearer vertical. The lateral motion 
—movement from right to left and left to right—is quite easy, but the up- 
and-down strokes—those made on main slant of the letters—is much more 
difficult. Give latter additional attention. 

LESSON 43.—Repractice r, s., a, d, and Exs. 34 and 35. New 
copy: g a.nd M. Oval in g is same as in a and d; g finishes with 
full unshaded right curve nearly half way to line below. Begin 
last part of M fully half way up on first part, Pr. i i. Two open¬ 
ings or spaces between main down strokes are equal. Last part 
of M requires careful study and practice. Notice pinisli, and com¬ 
pare with that of N. 



[plate 8.] 


44 


LESSONS IN BUSINESS AND ARTISTIC WRITING. 


LESSON 44.—Repractice a, d, g, M, and Ex. 34. New cop}'; 
Exs. 36, 37, q, and N. Notice height, and nearness o{\\x\.Q:S 

in 36 and 37. Nothing new in N; compare with M. Compare 
q with a, d, g. Long down stroke in q is straight. It extends 
same distance as p, f, etc., below base line. Notice finish. 

LESSON 45.—Repractice Exs. 36, 37, and N. New copy; 
Exs. 38, 39, y, and j. Last parts of h and g united make_y; j is 
same as last two lines of g or r, dotted as i. Compare. 

LESSON 46.—Repractice and M. New copy; X, Q, Z. 
First parts are similar to corresponding parts of N, M, X, W, etc., 
when unshaded; except in Q, where main down stroke must be 
drawn ivell to the left at bottom, so as to form lower side of horizon¬ 
tal loop. Notice where parts of X touch. Give each letter spec¬ 
ial study. Like all other letters, make with free movement. 

Better re-read what is said of movement. 

LESSON 47.—Repractice P. and M. Drs., X, Y, Z. New work; 
Wilcox and z. W is a difficult letter ; give second part special 
attention ; notice where it begins. Last line is a full left curve, 
terminating at half height of letter and well to right of preceding 
stroke. Notice joining of 0 and a: and crossing of w. Compare 
first two lines of «, m, etc., and 2. Finish as in copy. 

Look at the coj)y, then at your work, and see where your faults are. Take 
up a single w'ord occasionally, and write a half page. Thus you can get an 
idea of the appearance of your body writing. 

LESSON 48.—Repractice Exs- 36, 37, M, N, and W. New 
copy; Ex. 40 ( F-exercise) and V. Notice openings and turns 
in F-exercise. In V, U, and Y, Pr. i i is modified by being made 
practically straight from upper to lower turns. Notice that finish 
of V is a compound right and left curve ; the latter should be fill. 
U and Y are alike to beginning of finishing stroke. Compare fin¬ 
ishes oi A, U, N, M, and X/ also of Y, g,J, and y. 



[PrATR 9.] 


LESvSONS PROPER. 


45 


LESSON 49.—Repractice the figures. New copy: Nine men 
in a mine. After practicing on it ten minutes, repeat Exs. 15, 23, 
and speed yonr.self for five minutes on the above sentence. Do 
yotir best. Write legibly. 

LESSON 50.—Repractice following words : minimum, ove?i, 
Aim, bun, boon, kin, humble, and lull. ' 

Proper penliolding and rapid writing mean smooth writing —good lines 
—though not necessarily good forms. The object of exercises is hand train¬ 
ing. Don’t think their practice unnecessary. Be as careful in finishing let¬ 
ters as with any other part of them. 




LESSON 51.—Repractice following: Exs. i, 2, 3, 16, 18, 19, 
20, 23, 24, and two forms of Pr. ii given. 

Don’t think that scrawly or scratchy writing is business writing; far from 
it; such does not contain a single element of business writing. Study copy ; 
practice rapidly and with ease. 

LESSON 52. —Repractice H, K, M, N. New copy: P, R. Prac¬ 
tice on stem of first; it is right half of reversed oval. Second 
part of capital P is the simple form of Pr. ii, slightly modified. 
Same is true of top of B and R. Notice that B is .same width at 
top and bottom; also notice small loop and finish. 

LESSON 53. —Repractice A", Z, Q, and W, P, B. New copy: 
R and /. The latter is the simple reversed oval, modified by be¬ 
ing made narrower—the result of the parts crossing above base 
line. 

Easy and rapid movement; little if any shade. Count: For I, one, Two; 
for R, ONE, TWO, THREE. 


46 


LESSONS IN BUSINESS AND ARTISTIC WRITING. 


LESSON 54. — Repractice Exs. 18, 19, 21, 22, and 24. 

New copy: Exs. 41, 42, and J. Begin / and J exercises as you 
would those letters. Move around a dozen or more times in same 
place, as nearly as possible. Top of J is twice as broad as bottom. 
Notice crossing. 

Easy and correct position ; good movement.. Don't be sparing in prac¬ 
tice nor become discouraged. Keep your "eyes open" and your hands 
moving. 

LESSON 55.—Repractice P, B, R, /, /, and Exs. 41 and 42. 
New copy: Two styles of capital stem (Pr. 12), and /^and P. The 
capital stem is composed of a left and a right curve of equal 
lengths and cmvature, uniting at center. Second form may be 
begun either at top or bottom; practice both. Notice similaritj^ 
between cap (top) of F and capital stem ; also, between cap of P 
and reversed oval (simple form). About three-fourths of cap of 
P is on left of stem. Upper half of stem and lower part of cap in 
F are parallel. T is same as F, without straight line crossing 
stem at center. 

LESSON 56.—Repractice capital .stem, A and P. New copy: 
Exs. 43, 46, L and D Stems of L and D are same as capital stem. 
Loops at bottom are like loop in Q. Part of D to right of stem 
is right half of O. Make rapidly. Count—Ex. 43: 0-N-E, ONE, 
ONE, etc ; Ex. 46: 0-N-E, Two, three, four ; L: 0-N-E, two; 
D: 0-N-E, T-W-O, or ONE, TWO, THREE, FOUR 

Avoid unnecessary lines. Don’t try to write on poor paper, with poor 
pens; it is a waste of both time and effort. Continue to “shoot at the mark,” 
hit where you may. 

LESSON 57.—Repractice Lesson 56 New copy: Exs. 44 and 
46. Width of top and bottom of D is the same. In Ex. 46, first 
make without shade : then practice shading every down stroke 
Try to make lines parallel. 

LESSON 58.—Repractice Pr. ii, 12, /, /, Ex. 44, and 46 
New copy: N, G, and Ex. 48. Notice that up strokes in N, G, 
and Ex. 48 2ive full curves and alike. Crossing in N is at center; 
down stroke is capital stem, only curved more at each e 7 id. In G, 
crossing should be at or. little below center; last line is lower half 
of capital stem. Notice that upper part G contains three-fourths 


LESSONS PROPER. 


47 


of an oval (Pr. io). First and last lines in G should be parallel. 
Caution . Avoid making opening in bottom of S and G too wide. 
Make top stroke in Ex. 48 very full curve. 

LESSON 59.—Repractice O, A, Exs. 23 and 24- New copy: G, 
Exs. 45 and 47. Notice that £ is left halves of two ovals joined 
at center by a point or small loop. Lower oval should be about 
twice as large as upper one- The curves are very full. Begin 
with dot. Watch slant. First retrace Ex. 45 with eye, or with dry 
pen, without touching it. Loops are same size Make rapidly. 
Count: One, two, three, four, five, six, seven. 

LESSON 60.—Repractice P, B, R, I,J, Exs. 41 and 42. Study 
closely. 

LESSON 61.—Repractice cap. stem, T, F, P, L, D, and Exs. 
43 and 44. Give stem special attention. Notice that L and D are 
alike to finish of L, dot at beginning excepted. 

Don’t think that improvement in form is the only kind of improvement. 
You can improve in speed, ease, and strength, and quality of line as well; 
and they are equally important. 

LESSON 62. — Repractice N, G, E, and Exs. 45, 46, 47, and 
48. 



LESSON 63 — Review i, u, w, n, m, v, x- Compare. 

LESSON 64.—Review e, c, 0, r, s- Compare. Repractice P. 
and M. Drs. 

LESSON 65.—Reviews, d, t, q.g.j.y^ Compare. 
LESSON 66.—Review I, b, h, k, f, p. Compare. 

LESSpN 67.—Review all of small letters in alphabetical order. 


48 


lessons in business and artistic writing. 



LESSON 68.—Review H, K, N, M, IF, and X Watch slant 
and spacing. See that 5'our letters look like they can '"stand 
alone Don’t neglect second parts of H, K, N, M, and W- 


LESSON 69.—Review Q, Z, V, U, and Y Remember what 
has been said respecting Q. V, U, and Y, especially. 

If vou wish best results, you must follow the instructions and practice after 
the copies. If you are not willing to work, you would better give up writing 
and pursue something easier. It pays to write well, but learning it is no 
‘ ‘ soft snap. ’ ’ 

LESSON 69.—Review P, B, R, I, J -, special attention to form. 

LESSON 70.—Review P, T, F, L, D, S, G. Study and com¬ 
pare free movement. 

LESSON 71. - O, C and E. E is especially difficult ; give 
it special practice. 

Never raise the arm from the desk in writing. Get your movement ex¬ 
actly right. See that the pressure is equal on both points of the pen. Don’t 
turn your hand over on right side, but keep wrist “ flat” with the paper. 



LESSONS PROPER. 


49 



LESSONS 72 TO 81, Inclusive. —For each of these ten les¬ 
sons take one line on Plate 13. Notice finish of C, M, iVand U. 
A, K, R and X may be finished similarly. Also observe styles 
of t and d in Davenport, hidiana and Ramrod ; they are used 
principally as final letters. 

Don't neglect ease, speed and freedom in movement. Practice two or 
more special movement exercises each lesson. 






50 


LESSONS IN BUSINESS AND ARTISTIC WRITING. 



[Plate 14 -] 

LESSONS 82 TO 89, Inclusive. —Take Plate 14; and select 
movement exerci.ses from preceding plates. Each sentence or 
line of stanza, with appropriate movement exercises, will con¬ 
stitute a lesson. ' 

Remember that nothing but intelligent practice will produce skill. You 
must not be afraid of repetition or details; if you have trouble with a letter, 
study and repractice it until the difTicrilty disappears. Exercise your will 
power. Never "give up" nor become discouraged. 

Variety and Small Letters. 



LESSONS 90 TO 93, Inclusive will be found on Plate 15. 
Les.son 90 —/, d, f, and g-, 91 — h, j, y, and k ; 92 —/, p, q, and 2- ; 
93 — /, r, and w. Notice that /and k may begin as do /, b, and h. 
Abbreviate/, f, m, y, etc. 


LESSONS PROPER. 


51 



[Plate 16.] 


LESSONS 94 TO 113, Inclusive. —Plates 16 and 17 contain 
copies for these twenty lessons. Beginning with ''aiming'" prac¬ 
tice four words each lesson, until all words on the plate have 
been practiced ; then take heading, “ Strictly Business Writ¬ 
ing,” for one lesson ; after which, take up Business Capitals on 
plate 17, studying and practicing six each lesson until exhausted. 
It will be noticed that last lesson will contain only one capital (X) 
and business signs, or characters. 


Business Capitals. [Plate 17.] 






52 


LESSONS IN BUSINESS AND ARTISTIC WRITING. 


In these lessons remember that everything is stvictly business. The aim 
should be: (i) legibility; (2) rapidity; (3) ease and uniformity. Beauty is 
not to be considered, yet is not undesirable or objectionable. 



[Plate 18.] 


LESSONS 114TO 123, Inclusive. —Each sentence on Plate 
18 is sufficient for a good long lesson. While practicing, study 
the sentiment. Don’t forget movement nor form entirel5E Do 7 dt 
shade. Repractice the figures. 

“Aim at the mark and shoot 'qnickl}^” Make this your best looking 
work. Write at least four pages of each line, and hold it out at arm’s length 
and see if it looks like the copy. 


LESSONS PROPER. 


53 


LESSONS 123 TO 131, Inclusive. —Make four lessons of 
Business Letter, and two each of Note and Receipt. Notice ar¬ 
rangement, capitalization and punctuation especially. 



















[Puate 19.] 


54 


lessons in business and artistic writing. 





lessons 132 TO 142, Inclusive.— Arrange as follows : Make six lessons of the 
capitals, four of the small letters, and one of the words “Rapid, Simple, Sensible Penman- 


PROPER. 






56 


LESSONS IN BrSIN'ESS AND ARTISTIC WRITING. 


LESSONS 143 AND 144.—Take two lines of Plate 21 for each 
lesson, thongli it will be necessary to repractice them several 
times. This will give an idea of the style of writing best adapted 
to Ledger Headings, etc. The only difference between this and 
ordinarx' business writing is, that it is bolder, is larger, and the 
main dozen strokes are shaded so as to enable one to read it at 
quite a distance and at a mere glance. Every book-keeper should 
be able to write such a style with ease and rapiditx'. 

Wken convenienL it is well to combine initials of proper names, but avoid 
unnecessary lines. Le^bility and rapidity are the first, and, in facL the 
only requisites. 

Variety Capitals. 



[PutTE 22.] 


LESSONS 145 to 150. InclusR'E — (J^ariety Capitals .^— 
These capitals are both simple and flourished ; hence belong 
partly to Business and partly to Artistic Writing; but it is be¬ 
lieved that no harm will result from inserting them here, as pu¬ 
pils who have properly considered all that precedes will be able 
to select those adapted to their wants. These capitals are s nffi - 
cient for at least seven lessons. Practice thoughtfnllv and diU- 
gently. and satisfactory results will surely follow. Stem in third 
style of B may be made with either an upward or downward 
movement. If x^ou wish a smooth line—one clear of shakes — vou 
must u'rite rapidly. Xo one can write slozvly and make a smooth 
hair line. 



LESSONS PROPER. 


57 


Professional or Artistic Writing. 

Professional or Artistic writing differs very ynaterially from 
Business writing, being large or small, simple or flourished, 
shaded or unshaded, executed .slowh' or rapidly, depending en¬ 
tirely upon the wants and tastes of the writer. It admits of inmi- 
77 ierable varieties and 7 )iodificatio 7 is, the leading requirements being 
legibility, adaptability, effectiveness, and beaut\' ; while rapidity 
of execution is very desirable, it is a secondary consideration. 

As Artistic writing is more restricted in its uses and much less 
useful in a general sense than Business writing, we have given it 
much less space, and will somewhat restrict and make our re¬ 
marks and instructions general rather than particular, the object 
being to give the most useful 07 ily in this department of writing, 
and not to cover the entire field ; however, sufficient material is 
given to enable any one who will diligenth’ study and practice 
as directed to attain a high degree of proficiency. 

Combinations. 



[Plate 23.] 


58 LEISSONS. IN BUSINESS AND ARTISTIC WRITING. 



It is intended that the learner master all that precedes before 
taking up this department. Business Writing is the true founda¬ 
tion for Professional Work, and nmst and should precede; the lat¬ 
ter being purely supplementary ; and, as in Business Writing, 
Movement—control of the hand—is the mainspring of success. 

Having ma.stered everything in Business Writing, you are pre¬ 
pared to take up the present work; and it matters little which comes 
first, so it is thoughtfully and thoroughly considered before leav¬ 
ing it. However, we advise taking up the work as arranged, be¬ 
ginning on the combinations first, and pursuing it orderly and 
systematically. 

Spend from twenty to thirty minutes on each combination, 
never taking up more than two at each lesson, thus making twenty- 
two lessons of plates 23 and 24. Either a straight or oblique pen¬ 
holder may be used ; we advise the latter. 


LESSONS PROPER. 


59 


In the combinations, closely observe the following rules ; 

(1) The 7 nam strokes in a combination should harmonize 
as nearly as possible; contain similar parts; be of same slant, 
height, and distance apart. For instance, one letter contains the 
capital stem form; all should contain it, unless a better effect can 
be produced otherwise. See first parts of HHH, WWW, WZQ, 
IHH, PPP, etc.; also, last parts of TTT, ODD, KKK, etc. 

(2) The main dozen strokes of the letters may be slightly shaded, 
and should be the same distance apart; then the letters will appear 
equally distant. See any of the combinations for an illustration. 

(3) Crosshigs should be at right azigles, if possible. 

(4) All Imes running in one direction should harmonize—have 
same slant; curv^es should be alike or opposites; if one is shaded, 
all similar ones should be shaded, or be so far apart that the lack 
of harmony is not noticeable- 

(5) Produce an effect with as few lines as possible ; in other 
words, use all of the lines necessary, but no more. 

(6) Make legibility 3^our first and main aim; a combination'that 
cap t be read iszvorse thazi zvorthless; it is annoying, and shows the 
writer to be ignorant, conceited, lazy, or careless—or perhaps pos- 
se.ssed of all. 

(7) Don’t throw lines together in any manner in a combination, 
but defer its u.se until you can make it creditably. 

(8) Study and experiment, and you will soon be able to do 
some good work in this line. 



[PL.4TE 25.] 


6 o 


letters in business AND ARTISTiC WRITING. 


On accompanying plate are examples of Card Writing, some of 
which are simple, and others in which the initials are combined, 
Make each Ihie a lesson. Study and praetice carefully. 

Note.—T hese combinations were made with a very rapid movement, as 
directed in Business Writing. Even the business writer can derive much 
benefit from practicing on combinations; such will add greatly to speed, 
ease, strength, and uniformity of his writing. But he should select the sim¬ 
plest styles; all superfluous lines must be avoided. 

Ladies’ names should always be written in a small, neat, unflourished 
style; more license is allowed in writing names of gentlemen. 








Our Ladies’ Card hand, shown in accompanying plate, is not 
only new, unique, and artistic, but beautiful; and will well repay 
any penman for a few hours’ careful practice. The “card writer’’ 
will find it to be a favorite with the ladies. Don’t rush through 
it carelessly, but make five lessons of an hour each of the plate, 
and repeat. 


LESSONS PROPER. 


6 l 


Back Hand. 



For this and Shaded Base u.se a straight penholder. Position 
and penholding are same as in Texting, which see- In Back Hand 
you should notice that stems begin at top; in Shaded Base they 
begin at bottom. Study closely, and you will soon do good work. 
These styles are ver}^ nice for Notes, Invitations, Ladies’ Cards, 
etc. 

Shaded Base- 



[Plate; 28.] 


For Shaded Base use a very flexible pen. Notice shape and 
position of the shades, in both styles- Make flve lessons of each 
plate. 

Engrossing Hand. 

This style of writing is excellent for engrossing, large headings, 
display writing—and, in fact, for any purpose where good, bold 
work is required, and .sufficient time can be had for its execution. 
It requires at least twice the time of ordinary writing, and con¬ 
siderable more attention to form, if good results are desired. Use 
good paper and oblique penholder, and a very flexible pen (Gil- 
lott’s No. I is excellent) Study the accompanying cop}^ very 
carefully, and practice much, but not hurriedly, using combined 
arm, wrist, and Anger movements in about equal proportions. 
Shade every down stroke in the small letters, and all important 
ones in the capitals. Give special attention to the shape of the shades 


62 


I^ESSONS IN BUSINESS AND ARTISTIC WRITING. 


and the turns To get the shade square, it will often be necessary 
to retouch; but for ordinary purposes such is unnecessary. 

To do the nicest work, it will be necessary to lift the pen for 
every stroke, connect, and continue. Notice that there is little or 
no retracing of lines; it would drag the shades and make bad 
joinings. Also notice that second strokes in m, n, etc., connect 
with preceding down strokes near top, and that the down strokes 
forming right side of loop in /, b, h, k, f, and e, are made with a 
downward movement. Kach line of this plate is sufficient for an 
hour’s lesson. 

Cautions.— Beginners rarely slant this style of writing enough. Watch 
your spacing, both in height and width very closely, as good spacing adds 
very materially to its appearance.. This style makes not ©nly an elegant, 
but a very stylish card, if unshaded or shaded only slightly. 

Engrossing Hand. 



[Plate 29.] 





Next in importance to Business Writing is Pen Texting, which 
comprises all kinds of rapid Pen Lettering, or Marking, in which 
a line is completed with one stroke —as, lettering done with ordinar^^ 
writing pen, broad, double, and triple-pointed pens, and the auto¬ 
matic-shading pen This lettering is admirably adapted to ledger 
headings, price cards, signs, etc. Every business man, and espec¬ 
ially book-keeper, should be able to execute it skillfully, and with 
ease and rapidity. It is not only intensely practical in this age of 
universal advertising; but is so simple that one hour a day of in¬ 
telligent work, for two weeks, will enable any one possessing com¬ 
mon sense to do creditable work- 

A clerk of ability, who will become proficient in this lettering, 
will not onh^ ver^^ greatly increase his usefulness to his employer, 
but can easily increase his salary one-fourth- 

To Professional Penmen, it is almost indispensable, having very 
largely superseded the slower styles of Tettering, in Engrossing, 
etc-—in fact, wherever rapidity and cheapness are considerations. 
Nor is effect thus greatly sacrificed, for it can be made most elab¬ 
orate and attractive. 

Penmen, teachers, business men, and people generally will find 
Pen Texting not only easy to learn and pleasant to practice, but 
valuable iu many ways- The styles of letters given, will be found 
adapted to the brush, as well as to the pen 

Material.—Any good paper will do. 


(63) 















64 


IvETTERS IN BUSINESS AND ARTISTIC WRITING. 


Pens.—Ordinary writingpens (stiffones are best), Soennecken’s 
or Esterbrook’s Broad-pointed pens, Stoake’s Automatic-shading 
pens, Soennecken’s Pocket Feeders, and Double-pointed pens All 
of the above are good, and may, be used advantageously, the par¬ 
ticular pen to be used depending entirely upon the work desired 
If you wish a ledger heading, or other work where space is limit¬ 
ed, use a medium number of the first two or last pen mentioned; 
but, if a large sign or price card is desired, use the Pocket Feeder 
or Shading Pen. The work of the latter is very attractive, and is 
admirably adapted to advertising purposes. 

Ink. — For the Shading Pen, what is known as Shading Ink 
must be used, but any kind or color can be used with the other 
pens; however, we advise good black ink- 

Pen-holding.—The penholder should be held as in writing, ex¬ 
cept quite firmly and more nearly vertical. The pen-fingers (thumb, 
first, and middle fingers) should be contracted more, drawn in 
more towards the palm of the hand. The pressure on the pe 7 i 
should be just enough to cause the mk to flow properly and insure 
a firm stroke; and should be the same at all times- Don’t try to 
shade as in ordinary writing. 

Position. — Sit facing the desk, but not allowing the body to touch 
it. Lean forward, so that the nose will be from eight to ten inches 
from the top of the desk; both arms should rest on the desk, but 
the elbozvs should be farther from the body, and the hands nearer 
to it, than in writing; the right arm should be nearly parallel to 
side of the desk, the left arm should brace the body, and the left 
hand hold the paper in position. 

Position of Paper.- — The paper should always be slightly to the 
left of the center of the body, also nearer to it than in writing, so 
that the letter being formed will be almost under the nose. The 
paper should be moved to the left after every average word. The 
position of the paper in relation to the side of the desk depends 
altogether upon the slant of the letters. In all the alphabets that 
slant to the left, the lines of the paper should be parallel to the side 
of the desk, and nearly so to the right arm. Imagine the paper 
to be on a pivot, and turn it so as to give the letters the slant de¬ 
sired. But remember it must be in one position for all alphabets 
of same slant. 


PEN TEXTING. 


65 


Movement,—The movement is a combination of arm, finger, and 
wrist action, and is not sp free or rapid as that of writing. In 
this work quality is the first consideration; develop speed after¬ 
wards. 

Rests.—The muscle below the elbow, the fleshy part of the hand 
just below the wrist, and the lower joint of little finger. The for¬ 
mer is a stationary rest, the latter are movable. The hand should 
be turned more to the right than in writing. The pen should be 
drawn (pulled) towards the thumb joint in making all down strokes. 
Notice that there is almost a right angle at the lower thumb joint. 

Special Caution.— Don't neglect position of paper^ penholdmg, 
and ar^ms, if you desire success. We can’t impress you too strongly 
with their importance 

Simple Marking Text. 



aVcAc]^^\\\\t\mnoy(\ 


[Plate 30.] 

Now take ink; but be very, very careful not to get too much. 
Better drop a little on a thick card, and touch the pen to it for 
each stroke, if you wish to do the best work possible. To ink the 
shading pen, use a match or toothpick, and drop three or four 
5 


66 LESSONS IN BUSINESS AND ARTISTIC* WRITING. 

drops between the nibs of the pen. In texting, use all except or¬ 
dinary writing pens, exactly as you would a pencil, pressing the 
same at all times- Never turn or twist hand or pen to vary the 
width of a line; put full (not great) pressure on pen before start¬ 
ing, and neither increa.se nor diminish it until the stroke is fin¬ 
ished. 

By a space in Texting, we mean the distance between the blue 
ruled lines in common writing paper. 

The capitals and other long letters should extend across two 
spaces, and the short letters, as i, u, etc., should only be half as 
tall; supposing Soennecken’s No. i, or a similar sized pen, to be 
used. If a larger pen is used, the letters should be correspond¬ 
ingly longer. We advise the pen just named for beginners. 

Simple Marking Text—w/V/; Writing Peri). 

ci’eco^fc.\v\i\vu\\\\o 

The principles (leading forms) in the first set of capitals are 
numbered in the order in which we desire them to be practiced. 
It seems unnecessary to number them in the small letters and 
other alphabets, as there is little difference; moreover it is 
thought that no trouble will be experienced in learning the shape 
of the letters ; with the pen once under control, all is easy. 


Figures and Marks of Punctuation. 



Now, commence on Prin. i, and stick to it for thirty minutes, 
as it is the backbone of all the alphabets, being careful to make 
turns at ends short and part between perfectly straight. Then take 
up 2, 3, 4, 5 and 6, practicing carefully for fifteen or twenty min¬ 
utes on each, and repeat at leisure. Don’t neglect these elementary 
forms; it pays much better to master a letter while on it than 


PEN TEXTING. 


67 


rushing from one to another and not mastering anything. Ad¬ 
vance slowly hit surely, should be your motto. 

Now, put in fifteen or twenty minutes of good solid critical 
practice on each of the letters of the first alphabet, beginning with 
N, M, H, U, /, etc. After mastering one alphabet take up an¬ 
other, and continue until all are completed ; or, at least, as many 
as are desired. No further instruction should be necessary ; study 
very carefully that which is given and the accompanying alphabets 
and figures, and you will be surpri.sed, as well as pleased, with 
your progress. 

Diamond Finish. 



N-qte.—S lant is one of the most difficult things to acquire in 
Texting ; give it special attention. When two or more lines are 
to be of same slant, always watch the last line made and make the 
succeeding line parallel, etc. The letters may be slanted either 
to right or left, or made vertical —such is a matter of taste. 



68 


lessons in 


business and artistic writing. 


Modified Sylvan Text. 

ifx ff 0T aiisr 

gyjfBfiftjKdjpq 

iutumnuxoaccrs 

The above plate shows one of the newest, prettiest and most 
practical texting alphabets in use. We regard it as being as ar¬ 
tistic as either German or Old English text, and it is much more 
rapidly and easily executed ; besides, any one can read it, which 
is not true of them. 

Notice that the main down-strokes in this text are vertical, 
which shows it to best advantage. The other alphabets given 
here may be vertical or slanted either to right or left. 

Note.—M ake one lesson of each line on the accompanying 
plates; such will surely be enough to take up at one time; but 
the first three or four lessons should be on'the principles mainly. 
Make at least twenty lessons of the accompanying alphabets and 
figures. Don’t rush from one thing to another, but take up the 
work orderly, never leaving a principle, letter or alphabet until 
you can make it fairly well. Thoroughness always pays in the 
end. 


F/^MT FiFTrio 


ITINER/INT TE/ICHINQ. 


'^^EACHING writing itinerantly, like many other respectable and useful 
vocations, has been much abused and greatly underestimated. There 
have been hundreds of “quacks”—one-dollar-for-twelve-lessons teachers— 
running over the country, doing not only the people, but the cause, great 
harm ; yet we are proud to say, that all zvho have thus taught writing are 
not "'quacks," but many of them are gentlemen of ability, and have become 
the best teachers of penmanship the world has ever seen ; and it is not 
strange, for the work is of just such a nature as to develop the very best 
teaching talefit. These very men have done more toward educating the 
people on writing, and developing the subject generally, than all other in¬ 
strumentalities combined. They liave gone into neighborhoods and towns 
and aroused an interest in writing that has and will last for generations. 
We know whereof we speak ; we have followed them. 

There are some men in every bnsixiQss (and writing is not an exception) 
that are a disgrace to any business, and the sooner they are kicked out of the 
profession the better it will be for all ; and every honorable man will lend a 
helping hand. We must be able to discriminale ; because some are bad, we 
must not condemn all. We are sorry to say that some good but unthought- 
ful people have made this very serious mistake. 

It is our opinion that the prejudice that is sometimes found against itin¬ 
erant work is due to two causes : (i) To the fact that the people have been 

deceived hy some "quack," and (2) to the fact that the the people have de¬ 
ceived themselves —they are often too expectant, which of course is due to 
ignorance of the legitimate results to be expected from instruction given. 
They would not expect such wonderful progress in arithmetic, or any 
other branch. A few principles mastered and difficulties overcome would be 
most gratifying ; then why expect such a revolution in writing ? No teacher, 
however skillful, can make a boy a penman in tweli^e or even thr'ee times 
tiuelve lessons, and, if he is not a “quack,” he zuill not lead him to expect 
it; but he can sow the seeds of good writing in that time, which, if properly 
nourished, will make him a writer, and every honest teacher should see 
that his patrons so understand it. 

Itinerant teaching is a most worthy business, and we want to see it pros¬ 
per. By this means good instruction is brought right to the doors of all, 
and many are thus enabled to become good writers who could not possibly 

(69) 










70 


lessons in business AND ARTISTIC WRITING. 


do so otherwise. But if it is a success, it must be made so by honest and 
capable men. Every “stripling” that received a few desultory lessons 
in writing is not qualiiied to enter the field and do the people, the subject, 
nor even ^fm^^-Z/justice— something more is required of the successful writ¬ 
ing teacher, and it will be considered before we close. 

Value as a Calling.—In regard to the value of itinerant teaching as a 
calling, we wish to say that we think penmen generally have greatly under¬ 
estimated it; they have regarded it as merely a makeshift or stepphigstone 
to something better; they have not considered it as a business at which a 
good salary can be made—a calling worthy of being made a profession. In 
so thinking they have certainly made a great mistake. Without wishing to 
seem egotistical, we desire to state that we have always received more than 
an average salary, but have never made so much at anything else as we did 
teaching writing itinerantly, and we do not think we are an exception, as 
many others of our acquaintance have done likewise. 

As has been said and repeated, writing has been very greatly neglected, 
and the person who will qualify for the work can not only '‘coin money,''’ 
but do Wm people a great and lasting good. But remember that this is an 
age of general enlightenment, and that your success will be in proportion to 
your ability. The time is past for the people to patronize things indiscrim¬ 
inately; merit is the condition required, and is the only key to genuine and 
continued success. 

Requisites to Success.— Must be a gentleman or a lady (not simply a man 
or woman) in the best sense of the words; must possess good common sense 
and a thorough practical knowledge of the “common branches;” be n good, 
rapid ivriter and good in text lettering; thoroughly understand the theory 
of writing and teaching it (the most essential of which is given in this book). 
It would be well, also, to be able to do some good pen-drawing and flour¬ 
ishing, as such will do much towards inspiring the “would-be patrons” with 
confidence, even if they have no desire to study them; must be energetic 
and untiring in his efforts; must be painstaking, patient and apt at tllus- 
trating ; should have a thorough understanding of human nature and busi¬ 
ness; be sure that he knows that which is worth teaching, and can teach 
everything he knows and teach it well; be neat and well-dressed at all times, 
but not dudish; give others the privileges he takes; let them know w'hat he is 
by his actions, not put them to the trouble of reading testimonials; he should 
let nothing or nobody discourage him, but attend strictty to his own busi¬ 
ness all the time, and success is inevitable. ^ 

Best Seasons for Organizing.—This depends very much upon the com¬ 
munity. Other things being satisfactory, the best time is the season when 
most money is in circulation; for instance, if the people depend upon their 
cotton crop, any time after they begin to sell until all is sold, is good; but 
don’t wait until they have disposed of their crop and money too. People 
spend most freely when they are receiving. Some will tell you that spring 
isthe best time, others autumn, etc., but our experience and observation is. 
that it makes but little difference, under ordinary circumstances, to the 


ITINERANT TEACHING. 


71 


teacher of real ability —he can get a paying class nearly anywhere and at 
nearly any time; however, we wish to mention a few conditions that always 
operate against, and sometimes prove fatal to, the best talent, and which it 
would be well to avoid (not run from) when \t\s convenient to do so, among 
which are ^'big meetingsf epidemics 200^. Christmas holidays. Epidemics 
and Christmas holidays are always formidable drawbacks to organizing, but 
if your classes are well organized and have been running a few days, you 
are all right. In cities, “meetings,” unless of unusual interest, rarely in¬ 
terfere materially, but in the country and small towns, where they are not 
used to much of interest or excitement, anything of the kind will hurt you 
seriously, if you are not well established. It will certainly pay to be watch¬ 
ful, avoid big “hurrahs” or unusual excitement of any kind, for people are 
thinking of something else, and you and ‘■four show'' will have to take a 
back seat. 

Places.—If you are a skillful penman and experienced teacher and know 
something of organizing, always select towns of from fifteen hundred to ten 
thousand inhabitants—three to five thousand is best size—and towns whose 
population is largely German, Jewdsh or American, as they are generally 
greatly interested in everything that will benefit their children, hence, more 
likely to patronize you than other nationalities. Germans and Jews are es¬ 
pecially liberal patrons and good to pay, provided they understand your terms 
thoroughly, and you do as promised. 

But, if you are not well up in writing and are inexperienced, better organ¬ 
ize a few classes in the country, or small towns, to get experience; but, as 
soon as capable, go to towns of fair size; there is where you will make the 
money, if any is made. You will thus avoid many interferences, such as 
meetings, magic lantern shows, parties, etc. 

What to Do Before Going to a Town.—Write to the postmaster or some 
friend, inclosing a card addressed to yourself, inquiring about the probabil¬ 
ity of a good class in writing. Learn thp names of the leading papers of the 
town, and when published; when the last class in writing was taught and its 
success, etc.; and if you think your chances are favorable, and you cannot 
reach the place in time for notices to appear in the papers before organizing, 
send a well-worded one of about ten lines, and a circular giving testimonials, 
etc., to each of the leading papers, inclosing a dollar, and ask that the no¬ 
tice appear in the local column. The following will give you an idea of the 
form of notice : We are reliably informed that Prof. Writewell, of Highup, 
who is a graduate of Perfection College, and one of the most skillful penmen 
and best teachers of penmanship in the South, will be in the city on the 5th 
to organize classes in this most useful art. He comes very highly recom¬ 
mended, and will no doubt secure large classes. We hope that our young 
people will not neglect so rare an opportunity for improvement. 

But before leaving this subject, let us say that you cannot depend implic¬ 
itly upon what you hear, either before you reach a place or afterward ; many 
good people of towns have told us that they thought it impossible to get a 
class, as nothing of the kind had ever prospered there; but notwithstanding. 


72 


I.ESSONS IN BUSINESS AND ARTISTIC WRITING. 


we have time and again left those very places after a stay of fourteen to 
eighteen days with over a hundred dollars of honestly earned money. People 
are generally honest, but they don’t always know what can be done by a 
skillful and pushing fellow. Don’t be too easily discouraged; better lose a 
few dollars in making an effort; it will make you stronger for the next place. 
Experience is 2, power in this work. 

ADVERTISING. 

Specimens.— You should have about a dozen good specimens of writing, 
pen-drawing and flourishing, in two or three good frames, 16x20 or 22x28. 
You can hardly realize the benefit these will be to you; people will tell you 
that they don’t want flourishing or pen-drawing, but the majority will ad¬ 
mire them much more than yotir writing, be it ever so good, and would crit¬ 
icise you if you didn’t have them, and tell you that your work is very good, 
but that Prof. Skillful, who was here last fall, had the finest work they ever 
saw. Now, the proper thing for you to do, is to have work so fine that it 
will close their mouths at first sight and keep them closed unless opened in 
your behalf. If any one seems to doubt that you did it, tell them to visit 
your rooms and see some of it done; but don’t “play the bluff game unless 
really necessary, and never allow it “played” on you. 

On Arriving at a town first go to a good hotel and stay there for a few 
days at least; you can generally get a rate of $4.50 to $ 7 -oo a week, unless 
you are acquainted or know of a first-class boarding-house; don’t stop at a 
second-class place, for you will be judged by where you stay. After dispos¬ 
ing of your grip, get a “ten-cent boy'’ and take your specimens to the post- 
office; see the postmaster, show him , some of your specimens, etc., ask his 
permission to exhibit them there; he may tell you that he would like to ac¬ 
commodate you, but it is against the law to advertise in the postoffice; but 
tell him that it is educational work—that it is not for the benefit of one, but 
the public generally, and you are sure no one would object; that you have 
always been given that privilege, and assure him that it will not be abused, 
etc. We have never failed when we did not find a better place one where 
more would see the work. But the postoffice is generally the best place, for 
nearly every one must go there, and often has to wait a few minutes, which 
would likely be used in observing your “menagerie.” It is especially suit¬ 
able for advertising with ladies, for they rarely stop on the sidewalk to ex¬ 
amine anything. But wherever yon -put your specimens, put all together, 
exhibiting new pieces every half day Gr day, as you think best. 

“Taking in the Town.”—Among our first steps is “taking in the town,” 
as we call it—surveying the situation, determining our prospects. --By this we 
mean seeing the principal parts, where the schools are located, and learning as 
much as possible about the people and town generally. We rarely visit a ipan, 
whether he be principal of schools, editor, postmaster, merchant, or clerk, 
until we have learned something of him, his surroundings, etc.; this infor¬ 
mation we get from the hotel clerk, postmaster, leading business young men, 
etc.; such information is always valuable, but one must use some tact in get- 


ITINERANT TEACHING. 


73 


ting and using it. Before leaving one man we prepare as ninch as is possible 
to meet the next to advantage. 

Circulars.—You should always have some good circulars without any date, 
so that they can be used anywhere. These should set forth some of the ad¬ 
vantages you have had, contain a few good testimonials, and inform the 
people of your terms, what you aim to do, etc. They should be illustrated 
with your script signature and one or two good cuts, and be thoroughly dis¬ 
tributed in all parts of the town, tacked on posts, etc. We usually get one or 
two boys to do our distributing, but keep near by so as to see that it is well 
done ; also giving the people a chance to see ns. These circulars should 
be distributed in the business part of town especially, as soon as your speci¬ 
mens are “hoisted;” it prepares the people to meet you. After distributing 
your circulars and making some inquiries, you can generally tell whether it 
is best to try to organize your classes in the schools or in some hall; some¬ 
times one is best, sometimes the other, and again it pays to combine. If 
there are many young men in the town who are not attending school, it is 
well to have a “down town” class at night, and perhaps one during the day 
for the ladies and children, if the schools are not iii session, as they will not 
come out at night. But, if the schools are in session, and you can get classes 
in them, it is well to do so, because the pupils are not likely to attend your 
night classes, as they are pressed for time and often money; besides, many 
of them imagine they are receiving lessons in writing, or think they may 
be so fortunate some day; but if you will offer the pupils a reasonable reduc¬ 
tion because of circumstances, and teach so as not to interfere with other 
work, which can nearly always be done, you can often get one-half or more 
of the pupils of each school. However, much depends upon the teachers in 
charge, and a little intelligent work with them is generally successful. First 
prove your ability and worthiness, and, if necessary, give them a compli¬ 
mentary for their children, or do them other favors. 

Other Notices —As soon as it is determined where the classes will meet, 
some notices should be made with the shading pen in flashy colors and 
tacked up over town, notifying the people of the time and place. Announce¬ 
ments should also be made in the papers and schools when possible. 

Free Lessons and Lecture.—'I'his is one of the very best methods of adver¬ 
tising, and should be indulged in freely if the teacher possesses the ability. 
Nothing will do more to create an interest in the work; besides, it is a 
practical test of your ability; it shows the people what you can do, and set¬ 
tles all doubt as to your ability. We always give two as interesting lessons 
as we can in the schools whether we organize classes in them or not. These 
lessons are not wild talks, but are rousing, common-sense class drills, given 
generally at the regular writing period. Teachers often refuse to have lalks 
made to the schools, yet are always willing to let you take charge of a class 
at the proper time. It always pays to work for their convenience, no mat¬ 
ter how inconvenient it is to you, unless they insist on making a change of 
time for your benefit. Nothing pays better than being a gentleman and 


74 


LESSONS IN BUSINESS AND ARTISTIC WRITING. 


showing that you respect the rights of others and expect no special favors, 
but really appreciate all shown you. 

If you desire to organize a class “down town,” one of the most effective 
ways of getting the people together is by advertising a Free Lecture and 
Lesson on Writing, which should be given in the hall where your class is to 
meet, usually not later than the third night after reaching the town. Three 
days ought to be sufficient time in which to advertise before organizing, un¬ 
der ordinary circumstances; even if the class is small, it is better to begin 
and risk its increasing. 

Best Days to Advertise.—^The best days for advertising are those in which 
least business is being done. Then people have time to look at your circulars 
and talk to you. It is best not to talk to any one about joining your class un¬ 
til he has seen your circulars or work; you will be in a better position to 
speak intelligently and convincingly. We always let our circulars precede us 
at least a half day. 

Canvassing.—This is the hardest part of the work, and requires the most 
ability. It is here where your knowledge of human nature will be found most 
useful. You must know, just as soon as you see a man, how to approach 
him most advantageously; just what to say to convince him; when to talk, 
and when to let him talk; howrmich to say, and when to stop; how to get 
him to work for your class; how to leave him, and how and when to meet 
him again. What will convince one man will often drive another away. It 
will be necessary to talk to some an hour; others, though your friends, would 
become your enemies if talked to in the same way two minutes. Each must 
be made a separate study. 

Where to Canvass.—-Some would, no doubt, say canvass the entire town; 
but we would not say so, though it might do no harm. At one time we took 
up the streets and houses in order,- visiting and making a face to face canvass, 
but rarely got an extra pupil in this way. Finally we concluded to direct our 
entire attention to the business places and schools, canvassing them thor¬ 
oughly, and never going to a residence; since which our classes have been 
much larger than ever before. If the business houses are thoroughly can¬ 
vassed, very few who would attend will be missed. Moreover, we believe it 
actually an injury to any teacher to canvass the residences. It savors too 
much of the agency business—begging business—with which the people are 
completely disgusted. Our advice is not to do it, but conduct a high-toned 
business canvass. 

When to Canvass.—Begin the second day after your arrival, and continue 
until the sixth lesson. We don’t mean canvass all the time you are not 
teaching, but make it convenient to “drop in” and see parties that might be 
interested. 

But the most important days are the one before the Free Lecture and Les¬ 
son and the two following. Don’t lose any time on those three days. Of 
course you will invite all to your Lecture, and will expect only those who 
seem to be interested. But should any expected fail to attend, don’t be sur- 


itinerant teaching. 


75 


prised, but go to see them at your earliest convenience, and do all you can to 
get them and their friends to attend the next lesson. Don’t give a man up 
as long as there are hopes of getting him. 

First Lesson.—This with the “down town” class is generally the Free 
Lecture and Lesson, and is a most important time. Of course the main ob¬ 
ject is to advertise, by giving all a ''sample" of your work, but those that 
join rarely object to its being counted; for it is usually as good, if not the 
best, lesson. Everything should be in good shape. The room should be 
clean, well lighted, and provided with chairs and tables. 

The Lecture should begin on time, if possible, and be short and to the 
point. About five minutes might be spent on the proper theory of learning 
to write; about five minutes should be devoted to comparing and simplifying 
the letters, and three minutes on what you aim to do. Then the lesson 
proper sh.o\x\(i begin. You should have at hand some cheap paper and pen¬ 
cils, and have them distributed, and insist on all writing, so as to show your 
method of teaching. Put in about forty minutes in the most vigorous, inter¬ 
esting, and practical work possible; make it a class drill that will be remem¬ 
bered. Prove that learning to write consists mainly \\\ physical training, by 
having them write with each hand, and compare; also, proving that any 
one who wishes can learn to write well. Now, you should solicit additional 
names, it being supposed that you had some previous to the meeting, and 
had gotten others before the exercises began. An excellent plan is to ar¬ 
range, before the exercises begin, with two influential persons, who will 
become members to do the soliciting. They can get three times as many 
names as you could; besides, it will have a good influence; it will show 
that they indorse you, and will make the impression that the class is being 
organized for you, not by you. The more warm personal friends you can 
make at once the better; and every one will work for you, if you will manage 
things properly. You can make them feel it will not only benefit them and 
their friends, but that it is their duty (which is truei. 

When you get several pupils, don’t fail to let it be known; it will have a 
wonderful influence. Nearly every one is willing to take an interest in an 
assured success; all like to identify themselves with the popular; but, what¬ 
ever you do, don't become discouraged, and say or even intimate that you 
think your chances are poor. You would better quit at once, for as soon as 
your pupils discover your feelings they will quit; they will not hold up your 
hands when you cease to make an effort, but will quickly desert you to avoid 
the "crash." 

One thing you must not failto do the first night, and several other nights; 
that is, have one or two competitive speed drills on the figures, capital O, or 
other good exercise, giving the one who makes most and best a dozen nicely 
written cards, a nice flourish, a set of caps, or a dime, etc.; it will create in¬ 
tense interest, and will be a big advertisement. 

Cards.—Always have your pockets full of cards containing your own name, 
fresh from the pen; and don’t fail to use them. Give them to the school 
children, leave them in the stores, and when you approach any one to speak 


76 


lessons in business and artistic writing. 


of your class, you will find them to be quite useful in introducing you and 
your business. Also, secure the names of influential young men you have 
met, and write them a few cards. It will be a good advertisement. You 
can get your cards at nearly any newspaper office at a dollar a thousand. 

Visitors. — Invite every worthy person you meet to visit your class. All 
will not go, but it will set them to thinking and talking about you, though 
not disparagingly. Let every man, woman, and child in town know you 
have a class in writing—not once, but every day. Advertise freely; it pays. 
But think as you go along. Always be a gentlernan—unassuming, and strict¬ 
ly business. 

Hall, Etc.—In small towns you can nearly always get a school room for all 
your classes; but in larger places you will have to secure a hall for all pupils 
not in school. Of course, if you get a class in a school you can teach them 
there, but they will rarely allow you to take in others. 

You can often get a small hall—the Y. M. C. A., I. O. G. T., or G. A. R. 
hall, or a room over some store; but be careful to select a respectable place. 
Such will usually cost you from three to eight dollars for two weeks. Some 
places the court room will do, and will rarely cost anything. 

You can generally get chairs and tables from furniture stores reasonably— 
say fifty cents a dozen for stool bottom chairs, and twenty-five to forty cents 
each for large kitchen or extension tables—provided you cover them with 
heavy paper to keep ink off; or you may be able to get them from some 
church or society. But if you fail to obtain tables, rent or buy some broad 
and thick lumber, and have some short trestles of proper height made, and 
put your plank across for desks; this, when covered with heavy paper, will 
do very well. The lumber need not be injured, and can be sold back for al¬ 
most cost. 

Light.—You can nearly always get your pupils to furnish lamps, and you 
can provide the oil, if electric or gas lights cannot be secured; or you can 
rent a half dozen tin kitchen lamps at a second-hand or grocery store for 
about seventy-five cents. 

Number of Lessons and Terms.—We usually give twelve lessons of two 
hours each; or, if you wish, yohcan call them twenty-four lessons of an hour 
each; and always complete them in two weeks—twelve days—and charge 
three dollars for the course. If you teach in the schools, and can teach only 
one hour a day, you might redvice your price a third or a half. Always give 
a lesson every day, if you can. If you “ string them out,” your pupils will 
soon lose all interest; perhaps they will tell you that they won't, but we 
know they ivill. You can say that it takes just so much time, and by giving 
lessons every day you can afford to teach for much less than otherwise. 
Never promise more than tw'elve lessons; but if the work proves interesting, 
and you think it will pay, repeat the course. 

Collecting.—This is very important. The best plan is to appoint some re¬ 
sponsible member of the class as treasurer, about the second night, if every¬ 
thing is moving along smoothly, and let all pay him. No one can object to 


ITINERANT TEACPIING. 


77 


this, unless it be the teacher. Have him hold the money until about the 
eighth night. Get a good, influential fellow, and see that he collects. 
Give them to understand in your circulars and at the free lesson that you do 
not require them to pay you in advance. This will allay all fears, as a rule, 
in regard to both your ability and responsibility. But if any one is in ar¬ 
rears don’t wait until the last day to collect from him, but see that he pays 
the treasurer. The people's interest is where they have their money. 

Premium.—It is sometimes well to offer a premium to the pupil making 
the most improvement—say a nice piece of penmanship, 16x20, or two dol¬ 
lars, etc. We very often allow pupils a reduction of fifty cents on their tui¬ 
tion for every paying pupil they induce to join before a certain time, etc. 

After the classes are well organized, good money can be made by going to 
the stores and teaching the business men how to make signs, price cards, etc., 
with the Shading Pen. You can spend five or ten minutes with them each 
day for a week, and enable them to do respectable work, for which they will 
gladly pay you from three to five dollars. Such extra work will easily pay 
your expenses, and your class money will be net gain. We have often made 
forty to sixty dollars in this way in six or eight days. 

Lastly.—If you possess good sense, energy, and can write w'ell, don’t wait 
for a position, but make one. After a few months’ experience, you can make 
a good salary and be independent. Besides, you will learn more in one 
month, teaching itinerantly, than in a year in a position. 



COMPREHENSIVE, PI^AC- 

r RRrvb xical, and graded 


COURSE 

IN 


TGXT CGTTGRIRG. 


This is the most practical and extensive work on easy, rapid, Business 
Lettering ever published. It teaches all kinds of lettering with the Double 
and Broad-pointed Pens, the ordinary writing pen, and the Automatic Shad¬ 
ing Pen. The course is thoroughly graded, and adapted to the wants of all. 
The instruction is so exhaustive and simple that no one can fail to under¬ 
stand it, and become quite proficient in the work in two or three weeks, if 
closely followed. It was prepared for home learners exclusively, and no ad¬ 
ditional instruction will be found necessary. 

The copies were photo-engraved from our every-day lettering, executed 
according to the instruction contained in the course. A few of the simplest 
alphabets are given in this book,.yet’not enough to give you more than a 
faint idea of the course proper. No line of pen work except business writ¬ 
ing is so practical, or is “ coming so rapidly to the front ” as this easy, rapid, 
simple, and sensible style of lettering ; yet not one person in one thousand 
knows anything about it. 

DO YOU want to learn to execute beautiful Ledger 
Headings ? Signs ? Price Cards ? Calling Cards ? Mot¬ 
toes ? Rolls of Honor ? The finest Engrossing ever done ? 
And make money much faster and easier than ever before ? 
Then send for and master Parks’ Course in Lettering. Two 
weeks’ work will put you in good shape. 




One afternoon recently the author made I13.75. filling Diplomas in 
this style of lettering; and didn’t work all of the time. $25 or I30 worth of 
such work can be done in a day. 

One of our pupils paid his expenses by making price cards, signs, etc., 
in this lettering, while pursuing a Full Course in Pen Art in our College. 
Others can do as well. 

No Teacher, Penman, Book-keeper, Clerk, or other Business Man can 
afford to be without a knowledge of this work. 

Complete by mail, including recipe to make all colors of inks for Auto¬ 
matic Shading Pens. fi.,so. Address 

■[®eR 

Nla^l^ViUe, ’T’enn. 




Parks’ Boilrse in Text Lettering, 


WHAT TWO NOTED PENMEN SAY : 

“For self-instruction in rapid pen lettering, Mr. Parks’ course in Text 
Lettering is quite the thing, and should be in the hands of all young pen 
workers.” Zanerian Authors, Columbus, Ohio. 

“I have had the pleasure of examining W, T. Parks’ Course in Text 
Lettering; and for simplicity, originality, beauty, and practicability, it is 
ahead of anything I have ever seen in this line of lettering; it is all, and 
even more, than the title would imply. The instructions accompanying it 
are concise and full enough to enable any one to master the art at home. 

A. C. Webb, Nashville, Tenn., 
Supt. of Penmanship and Drawing hi the Public Schools. 





|ikillfal, 0rigiMal, RatHral, (|iraeefal! 

Orig-inal is xvorth $100.00. 

7^011 can have a dtiplicate for joc. 


22xS8 


PI^EPAID, IN TUBE. 


A magnificent picture for study or framing ! We could publish many tes¬ 
timonials, some stating, “It is fine ; ” others say, “It is beautiful; ” a few 
have said, “ It can’t be beat; ” many declare that “ It is the finest thing they 
ever saw in the line of flourishing;” and, finally, Isaacs wrote us that “if 
flourished eagles ever do such a thing, yours certainly ‘takes the cake.’ ” 
Now, after reading what the author of this book postscripts to this an¬ 
nouncement, if you will enclose 50c postal note, we will be pleased to let you 
see how the Eagle flops when escaping from the pen, provided you address 
plainly,. 

“I regard Prof. Zaner as the 
most ‘Artistic Flourisher’ this 
or any other country has ever 
produced, and ‘Zaner’s Master¬ 
piece ’ as his real masterpiece." 

W. T. PARK.S. 


Columbus, Ohio 












THE 


SOUTHERN COLLEGE op PENPN8HIP 


AND AI?X, 

JSASHVII^I^E, 4’ -i* •i’ TEA’IVESSEE, 

/S THE ONLY EXCLUSIVE SCHOOL OF PEN¬ 
MANSHIP SOUTH OF THE OHIO RIVER, 
AND ONE OF THE FEW FIRST-CLASS 
SCHOOLS OF PEN ART IN AMERICA. 


f HE Principal of this Institution is not only a graduate of four of the 
leading Pen Art Colleges of the country, but has received 45 First 
Premiums and Medals on his pen work at Fairs and Expositions. 

There is no place in the United States where a more thorough and 
practical course is given in all branches of Penmanship. Preparing teachers 
to teach Writing and Drawing in the Public Schools, etc., a specialty. 

All instruction is individual. Rates are reasonable. Day and night 
classes throughout the year. 


Isn't it reasonable that a sehool that teaches Pen- 
manshif) only will teach it better than a school that 
teaches a dozen other branches f 


The Principal has had over ten years’ practical experience in the work. 
Investigation is all that is asked. INSTRUCTION GIVEN BY MAIL. 

Would you like some nicely written Cards, a Pen Portrait, a Letter 
Head, a Cut of a Building, a Catalogue or Book Cover, a Display Cut for Ad¬ 
vertising, a Set of Memorials, Testimonials, Resolutions, etc., engrossed? 
You cannot send your order to a better place than the Southern College of 
Penmanship and Art. Write or call for specimens and rates ; or send us 
what you want, inclosing what you are willing to pay for it; and we assure 
you that you will get your money’s worth. 

We also keep on hand a full supply of pens and inks for all kinds of 
pen work. For further information, address 



Vendome Building, Nashville, Tenn. 


Principal. 






PRESS OF 

GOSPEL ADVOCATE PUBLISHING CO., 

NASHVILLE, TENNESSEE. 


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